The Power of Line, Basic Drawing Part 3, Construction

1. Introduction to Construction Drawing: Welcome to the class on construction drawing. This class is the third part in my foundational drawing series, the power of line. In this class, we're going to learn how to take those basic shapes and construct very complex objects. 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. How to Use the Class Drawing Classes: 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. They're 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. 4. Power of Line for the Construction and Simplification: All right, so we've gone ahead and we've done the drawing with the proportional measuring and center lines and mirroring and all that good stuff and are ready to take the next step. Now, I do have to, we do have to talk about something that's a very important concept that I really don't think enough people really think about. And that is the fact that simplification is the key to better drawing. And it also ties people like, well, that sounds like a contradiction in terms. How can. But it's just like if you can think of it as a foundation for building. If you have a bad foundation, it doesn't matter how great those curtains look. If the buildings falling down or if the building cracks or, you know, it has to be condemned or some like that because someone didn't put a good foundation. Now for drawing, it actually is even more. But when an architect builds a building, he starts thinking about the foundation and how they, and about the space and the ground and what basic shape can be put there long before he starts dealing with little treatments and flourishes and all this sort of detail. He starts off with the basics, withdrawing. It's all about the basics. The better the basics, the better the drawing. And so that's why this foundation class of the power of line. We talk about the basic shapes, the 2D shapes, the 3D shapes, the proportional measuring, the center line drawing, all this stuff culminates and will make you a better artist much more quickly because there's such powerful concepts. So I want you to go ahead and remember that simplification. If I can simplify it, it's going to help me. That's going to lead us into this next part called construction drawing, where you're going to construct things from basic triangles, circles, and rectangles. And using just these basic shapes, we can construct very complex objects. If you have people that are drawing heads, especially those that are really good professionals and stuff. And again, I was an illustrator for 25 years. I've drawn thousands of people. I've done thousands of heads and different, you know, and all different ages and all that good stuff. That's just part of the job. You learn very quickly to simplify. If you get carried away with little freckles, little dots and those stuff that does not matter. You will not have a very powerful head. You need to simplify. You know, so, and even when you're doing a very, very, again, what seems to be an advanced head, you're going to start with very basic shapes and egg shape or a circle. And again, if you, you know, if anyone's ever heard of something like the luminous method which most artists in our concept art use or cartoon art or comic book art, all these different things, if you're working with heads, especially commercially people have heard of Louis. Same thing with Riley. Riley is another very popular head system for being able to, you know, draw the head very, very, very quickly, very rapidly. And it's because it boils it down to the most simple terms. The better you can do simple things like rectangles and circles and triangles, the better your drawing will be. You are, the more immediate drawn your media drawing will get better. You're advanced running will get better. I've had people that I've had come into my classes that have advanced degrees interface from very, very well prestigious schools. And I've put them in the beginning drawing class to their, you know, their disappointment. How, how could you away? And it's amazing to me that there are things and concepts they will learn even from these first, like this particular class. They've never heard of armature of the rectangle, which used to be Tod river very readily up until the 19 fifties and quit being taught because of, you know, ideas in the art world were brought in from contemporary art. This stuff didn't matter and we just need to express ourselves. And all the visual communication was thrown out the window. Even though that's what we're doing. We're communicating in a visual language. They threw the language out the window saying it doesn't matter. So this stuff was set aside. But I have had people begin with master's degrees in drawing that a never heard concepts that you are going to be learning in this class, including, again, the arbitrary rectangles is one of them. You know, proportional measuring is a little more common, but not as much about the measuring of angles. I don't know why that is because they go ahead and add the drawing of the solids and the shapes again, they don't really get that basic. It's almost like, well, you should already do it. But what if you hadn't been taught? So, you know, and so I've had p again come in and they've learned stuff. And I'm like, yeah, that's why I put you beginning drawing because I know for a fact that I don't care how big and how how prestigious your university is. There are things you haven't had been taught. And so, and it's not because I may think Amazing. It's not that it's then I have dedicated my career to uncovering different aspects of the different teaching methods that were actually taught very commonly. Again, even as little as 40 years ago. And these concepts can be applied to digital painting, digital craft, digital artwork, commercial artwork, digital concept, or you name it. This stuff has universal applications in art. It is great stuff. So we're gonna talk, we're gonna go on to a concept called construction drawing, which is simplifying things down to their essence. And then you build That's simplicity and making more and more and more complex just like a building, you start with a foundation. You build the walls. You get the walls constructed, and then you get the inside walls. And then you start to paint the inside walls and then you start to put the decoration. And the, you know, it's a process that builds. And that's the same thing with drawing. We start with the basics, definitely keep building on it. And that's why sometimes you get somebody and, you know, I've done this too, but I know a lot of people have talked about this. Especially professional artists were like Look, we know are ones have this similar experience. So it's not like some little secret that we have to keep, you know, well, I'll tell you about yet. Have they've watched demos when they were young and learning and in college or what have you. And they'd have these old seasoned veterans come in. And this person would sit down and make a drawing, you know, like RNA or win-win, you know, kinda huddled around and they'd start there drawing and he'd be like, oh goodness, I can, I can I can do that. That Gary, I knew that better than that, you know, this person and they do something else or like, I wasn't all that inspired. I mean, I can do that. I can even do a little better than he did it. And he or she depending on who was and, you know, and you kinda get that. But there'd be a point where obviously you'd be like, well, hold on a minute. What just happened? Because what those artists did was they know how to keep building and how to keep ratcheting up that level of sophistication. And so within like 10-15 minutes, officer, you're like holy Moses. Well, what what just happened here? I can't I don't know that I can do that. And then they just keep pushing it. And by the end you're like holy smokes learner that you are amazed. And it's because the fact that the artists knew how to continue to build on the different concepts even at the beginning were like, I'm not all that impressed and they keep building out, you know, I can still do that, but there's a point at which they pass you, surpass you, astounded you, and keep billing. And that's what an experienced artist does. They know how to do it. And that's why people learn from experienced artists, is that we've made all the mistakes that beginners and we helped you to press forward and get better and better and better. And that's what we want. We want to improve. We went to build our town and we want to be able to express themselves in whatever way we want. And that's why I had these classes. So again, were simple is better. I know I've gone on a little bit more and probably, you know, a little more information than ever. But it is so important simplify. They used to have a saying in, in college and schools and it was very, you still hear it. And it was called the acronym was kiss, Keep It Simple, Stupid, never like them. But the idea was something that was taught all of it all the time. Sometimes we have to simplify to see, you know, like you might have a complex painting. The answer in how to make it better is usually a simple answer and it has to do with simple structures. Anyway, simplicities worried at where it is that we're going to go on and talk about construction drawing, which is simplifying and then building that simple shape into much more complex shapes. And it is so important for drawing. So again, watch the video, stay tuned. And again, I'm, I applaud you guys for sticking in with this because we've got so many of these sort of dry little concepts, but they build on each other and build on each other and they really do work. Alright, stay tuned. 5. Construction Drawing Technique Explanation Demo: Two-dimensional. And so will flatten this out into either triangles or rectangles or circles or triangles. So for this one we have up here, up top. So up top here, this is very, this is very much sort of a triangle. We can see that trial coming in. And then that connects to a rectangle. And then from here we have again sort of the cylinder. And then from that cylinder we have basically a triangle to the bottom of this vase. So if I was going to sketch this and we always do this with a center line. So let's just go ahead and put it over here. And I say, all right, and I haven't done the, you know, the measuring part of this in terms of its proportional measuring. And we said we had our, our modified triangle or triangle that's cut off. And then we've got the rectangle k. And then from there we've got a, we've got this, we've got a, we've got this circle. So, and in fact it's almost, it's almost elliptical. So we might say, well, so sometimes it's a circle, sometimes it's an ellipse. Okay, so we'll use this ellipse for this. And again, we use a center line to check for symmetry. This seems like this is wider than this one on this side. And so we would then go ahead and add a little bit to this side and maybe cut a little bit on this side. Right? And they said, Alright, well then there's a, And this goes up this way. And then this, then this is a triangle. So there's the triangle has to, so all these shapes have to be married. They have to touch one another. So this would then becoming down here for the triangle. This triangle should be in the same angles and it should be the same distance. So something about like that. And then we've got, we've got the base. Now the base actually has a little bit where this kicks out. So it's, it's a reverse modify triangle. So you put a little bit of that on there for the reverse modified triangle. And that's, that's, this is the schematic drawing. This object that we've got this NOW modified triangle here. We've then got this modified triangle here. That even with the point cut-off, it comes there, it comes down to there. We then have again, of course, our little or soil through there. We then have our rectangle going. All these have to touch floating above their, what we call married me. They're gonna touch. So this is my rectangle. These would come out of the corners of that rectangle. And this is the basic construction. Now, we'd start to make this into volumetric. So this would become an ellipse here. This would become an ellipse here. This would become an ellipse. This would become an ellipse. This would become an ellipse. So now we can construct with the 2D shapes that's low, that arcs up a little bit too much. And we go. Or we could do it with 3D shapes. Let's say we were doing the little teacup and little teacup again as a truncated cone, if we were going to 3D, and this is a truncated cone and that's a, in other words, a cut cone and cut Conan cut cone. And then you've got this little half C curve for this, for this teacup, you know? So again, we've got the cone under here. You've got another cone stacked on top of a cone. And so if we're gonna do the tea cup and we wanted to do the using volumetric shapes or other 3D shapes, we'd say, all right, well we have the top of this saying is a cone that's been cut off k. And that's why we're using volumetric shape. So it's gotta be, okay. So we have this here and this would get cut off. Like so, right? And they would say, All right, and then this has another little cone over here that is, in fact we'd bring that if we need to bring it down, whatever. But we have another little cone right here. This is not symmetrical and I've got some issues here with the, with the ellipse being little out of whack. So this would have to turn right through there. Okay, so there then this would need to connect there. This would turn there. This we need to connect there. And let's see. We also have to make sure if that would come there. And we could make sure that one is the same distance as the other. That's why we got issues going on here that were not quite symmetrical. But so this would then need to come down to, to their that'd be symmetrical and this would come down to here. So this would be our little comb there, right? Like so. And then we have another little cone coming out. So this would be another cone or conical if we want to use that word, which means comb like. So yeah, I mean having a little cone there. And this would turn there and that would turn there and check it for symmetry and all that good stuff. This looks like this has also got some issues. This is not oh, that's at an angle. So we'd have to go here and let's bring this straight across 90 degrees, right? So we'd still have to deal with symmetry. We'd still have to deal with getting things to be even and that sort of thing. But it can these, these, these approaches really help when we're dealing stuff? Well, yes, so we've got another this is actually a little more open on this side and this side so we can, and this is actually more accurate. So we get again make it, we want you to again make it more symmetrical. This actually bins out a little bit so we can go ahead and then once we've got this done well then we can go ahead and put in the reverse curve guy going on there. Like so. And again, if we needed to, we could bring in and use central lines to deal with the symmetry part of this. But we can, we have the basics of the little the little cup. And then we put on the little Handle is a little big, but facts, let's go ahead and cut it down. There we go. This would then come off here. And then we'd have a part where the top of this thing would. So this would be the top. And then this is bins around. And this is the bottom that then attaches right there to the and this attaches right there. And this is where we're seeing the top of it. And then it bends around. This would be a little bit in shadow and, and this is the unknown, the underside that then becomes, goes down to the side. But this is the idea for basic little teacup. If we're doing something again Wicked, This is a little bit more careful that I want to be. We have this Perrier bottle, the parabolic, it has a little bit more. It's cone like through here. We didn't have an ellipse through there. We did have another comb through here. And of course we've got a screw, screw on top. We're going to forget about the screw on top, but we're going to start with those basic shapes. So we said, all right, what do we got going on here? And we said, all right, well, first off, and again, we'll just do it a little bit and I'm actually, I kind of forgot a piece of it. There's a part that's and we'll start with the, the, we have the, the rectangle. We're gonna do this in two dimensional shapes. And then we have a slight triangle as far as that goes. And then from the triangle we have, we have this, again, this sort of, it should be elliptical. This almost looks like an H shape. And well actually it is kind of an egg shape. So we'll give them some. You'll sometimes see these. We've got H shape there. And this again is an inverted triangle that's been cut off. And that, and then we've got, yeah, there's there's a little at the bottom that's it's kind of got its own little triangle that just makes a little bit nicer as it touches the ground. But this is the basic, the basic shape of this guy. There's our, our egg shape. And I'm looking at this thing off a camera, but hopefully you understand I'm constructing these very basic shapes so that we get a better feel for this object. Or in other words, we get a better drawing of the object. And if I needed to at this point, if it wasn't quite symmetrical, we could use mirroring technique. But it can. Construction technique really helps you to get things much more symmetrical, much more easily. Again, using our shapes, there's the rectangle for the neck. Now I forgot to say what IS coming up to this. This gets my, I made my little to the cylinder only comes down like a farmer. The, the, well, the sum that we made into the rectangle stops there and I lengthened it. But we have the neck where the triangle, we have the AIG shape, and then we have the inverted triangle. And there's another sort of bending. And we make that into like a little triangle for as it bends around the corner here on the bottom. So if I wanted to modify this the way it should be that this triangle should come up. Fact that trying would probably come outside of this. And if you're using a triangle, always use the center line for war. Does that triangle, where that triangle point to? Where does that triangle? And you go ahead and put the correct triangle on, this would need to come up and actually is accompanied with further, doesn't it? That would be the center line. It comes up to there. So we could change that angle so that this comes all the way up to here and there's that just that little part of the rectangle. Okay? So that's a rectangle. Then you've got this coming down through here. As our triangle. Triangle has been cut, of course. Go ahead and straighten that out showering. So we don't have to use our imagination quite so much. Makes sure that it's the same distance on either side. And we're going to bring this down. There we go, that's better. The first one was starting to break outside of that. So there's a triangle. This was our original rectangle, but that was wrong. So we, we tried to make this, this one a better rectangle. This is this one right through here. As far as that goes. This is the center line. Like this. This is then our AIG shape. Ok, so this is the shape coming out like there. And then if we take where this egg shaped coming out again, now we didn't complete the triangle, but we could actually bring this down like so. And you could actually bring that triangle down if we needed to check that our triangle is nice and the same. And then we can even take this right here is another small triangle though we'd been round once we got the angles because surroundings are really hard. So if we instead make it straight first, turn it into a triangle, and then we need to round it. All we do is we just cut off the edge and it's gone from a triangle to a nice round surface. But this is our Perrier bottle using construction. And so again, when we construct, Wow, that really got dirty really quickly. When we construct, we're only using. Now again, if you're just getting used to construction, we're going to use either rectangles or triangles or circles. And in the circle family we have a egg shapes and the triangle family we have modified triangles in the rectangle family we have, we have. Rectangles or squares. On the circle family, we have egg shapes and then ellipses, and then we have circles. And that's how we're going to use it to construct any number of objects. And then remember once you construct it, it will then you come back in and you go ahead and make your nice beautiful line like this would translate. You know, once I, once I am, I've got it rough down because that's what this is. It's roughing everything in using using these shapes. And then you're gonna go ahead and create that lovely curve wrapped around these shapes. This is like the bones of a drawing. So this is, this is sketching. And so support drawing. Forgot how dark these can get. That again, this is just so we can see the lines a little better. I would, I would never use this for sketching because these are not the pencils to use. But again, breaking stuff down now, we would also do it very, very quickly. So that's why I want people to understand that if they're going to learn how to do this, you need to learn to do it quickly to kinda get it into the gray matter too, to have your brain. So you might do, or let's say I was doing some let's say we're doing that. The ball that's looks like a teardrop again, we can say all right, which is one of the bottles we draw. The other bottles, the Qian Ti bottle, Bobby's era, well, it's basically a rectangle and a triangle, and then a circle, and then an inverted triangle. And that's the basic shape of this particular construction. And there's my construction sketch right there. If we did like, like a wine glass, we'd say, well, the wine glass is kinda of an ellipse. And partisan in their lips is cut for the top. And then we come down. And then we'd come, we'd have sort of a, there's, it looks almost like a little ballerina skirt or, and this is too high of a triangle, but the soft triangle for the, for the edge. I think this is curving in too much so we could bring this, maybe it's a, maybe it's a circle that then is onto a triangle that would soften the edges. But, and then we'd say, well what if we're doing a pair will pair is just again a circle. And then on top of that circle there's sort of a, now we also need the axis line. And then there is a triangle on top of there. And then of course the Stam or what have you. But that's the basic idea of, you know, perhaps a pair that's really leading. And if we had an apple over here and Apple's fairly easy, it's just a circle. Couldn't ask for anything simpler than that. You know, so that's our construction of the, of the apple. And if we had, you know, some other sort of, you know, if we did some really simple like a shot glass will, shall glasses is just a modified triangle. Boom, there's my construction for it. There's my sketch. So I want you guys to keep a sketch book and do some sketches, breaking objects down into very, very simple, simple objects. It's really a great, great way to practice and it will help you draw objects better by deconstructing them into their simplest shapes. Alright? And so this is construction drawing and construction, construction drawings, sketching. And it's really great to again get it into the, the gray matter and it's not for grade drawing. These are not great drawings. They're just a oh, yeah, this is the basic construction. And then if I wanted to make him better be like, well my triangle a little too short or my triangle is not symmetrical or this needs to move and that needs to move and you make it better and better and better and better. And that's the point. So construction, drawing and sketching, Give it a shot. Really use it in is one of the most important concepts to use and is used by more types of artists than any other drawing technique. It is used by fine arts issues, by illustrators issues by concept artists, cartoonists, animators, comic book artists, graphic designers, mechanical designers, you name it. People are worried or using an constructing things using shapes. And there was a time where all this was done by hand. A lot of it of course, is done by the computer, but there's still a lot of people that will go well, you know, I can sketch, it's easier to sketch out a hand really quick that is on the computer and they'll still do it. And there's some people that do their comps completely on the computer. But, you know, I just want you to know that there's still some people on the thinking process. And if you've ever picked up a book on how to draw dogs or how to draw horses or how to draw people. You've seen construction if you have somewhere, start with Louis method. That's a construction method, Riley, that's a construction method, you know, breaking a horse down into rectangles and triangles and circles to get the basic masses that's construction drawing. And so you can use this in all types of ways. You do it for wildlife drawing, animal drawing, people drawing, you know, pet drawing, drawing a bird's drawing of cars, drawing it, you know, you name it. You, you can use construction, it will help you draw it much, much better. It is one of the keys to the kingdom and learning how to draw, use it. It will make your drawing better. Just practice, practice. All right, take care. We'll come back and have a good one. 6. The Strengths of Construction Sketching: All right, welcome back. So again, I'm glad you guys are still here, that you're, you're just plugging away a given with the class. And I hope you're learned, I hope you're enjoying again, work those. If you watch a video, tried to employ the concept. If you want them to go, try to employ that concept, try to work this at least three or four different little drawings or, you know, get on an object and try to measure the angle. Again, if we said, well an angle measuring we said r, I will, we can take this. And again, I can measure that angle. What have you, you know, start, start trying to measure some angles, trying to try to do that. It's a really great, great concept. So we're going to talk now about quick sketch, but we're going to use quick sketch with a twist for construction drawing. And all that means is that we're going to take a couple of the steps that we did in the first quick, quick sketch. And we're going to leap frog over them. And you can do that. Or you can start with a quick sketch of the basic symbols and then measure them to get the proper, you know, the proper height, the width sort of stuff. And then you can just keep building and building and building. But we're going to do this where we were going to jump right to the rectangle. So you're gonna do a little bit more measuring to get an understanding using your increment measure to get that rectangle correct. And then within the rectangle, we're gonna do corner to corner X marks the spot. And then we're gonna go on in and we're gonna go ahead and get a centerline and we're going to construct. So again, this is just real quick sketch used for construction drawing. Again, it really, really helps. If it seems a little too abstract, start the old way you're going to end up to the rectangle no matter what. And this was just a skip a couple steps. So anyways, Give it a shot. And again, we're going to do this to is when we do the finished drawing, we're gonna do our quick sketch because that's where we get where we want stuff to be arranged. And then once we decide yeah, that's what I want. There were a locking in where do the drawing or have lots of fun doing. Alright, so again, check out the video. It'll be really great. Set up little still live at home where you can use some of the reference that I've gotten for the class and, you know, put together a cute little still-life part. We do a little sketch. The sketch again, give me rectangles. So I guess cube might be the wrong word, but try to use the concept. It will help you in so many ways, and again, will help your brain to continue to develop a better sense of proportion. Give it a shot. Watch the video. Stay tuned. We're going to working our way to that. Finished drawing our i keep up the good work. So what we're going to talk about, where we were talking about sketching with using a schematic drawing method. So was schematic drawing. Again, we're, we are really interested in the rectangle. Because from the rectangle whenever we, whenever we sketch, we, we could do that. So we could do a quick sketch. Like let's say I did a quick sketch and I I put like a I've got like this little pair. And so I've got this little pair. Bosch pair, like so. And then next to that Bosch pair I had, oh, I don't know, maybe I have the cube and the next on on the queue we've got like a little cup or something. Well, for construction, we need to have the height and width relationships in order for us to construct the shapes. And so with a quick sketch or method, we'd sketch it and then we we check all the measurements. And then we go ahead and then we get the rectangle and then the rectangle, we construct the rectangle, pardon me, with inside the rectangle we construct the object. So we do the sketch and then after doing some, some measuring, we would then put the the pair into the proper and appropriate rectangle. Now let's, we're assuming that I've measured this and it's most likely changed a little bit to get that. Like if I if I measure my blake Well, the the the the bowl with a parent comes up and maybe the bulb of the payers wider. So we've done some of those changes. So we'll just take this over here. This would be this right here would be the the box. Okay. So this is after we're going to be measuring, we'd say, all right, this is r. This is the box that that pair sits in. And then we'd say, all right, well, we would then go, okay, well we're now going to construct. Whenever we construct or whenever we draw, we always want to centerline. If we've got the rectangle, It's much more easily. It's much easier, I should say, to put it in the center line. When a problem is, this is, so this is how we'd start. However, this isn't standing straight up and down. This is a parents and organic piece of fruit and it has an axis line. And the axis line is actually something about like this. So I guess maybe this was the wrong thing to use because it's not completely symmetrical, but I would still do this whether for a piece of fruit, we then find the axis line. This right here is the axis line. And this right here. That's my center line. So center line versus axis line. So arch again if the arousal small, but this is the axis line right through here. Okay. So there's our axis line. And then we'd started construction. We'd say, okay, well this construction is basically we've got a cycle. We've got a circle here. And then on top of that circle we have a, a comb, but we're gonna keep it two-dimensional, so we'd have a triangle. Okay, so this is, that's in the construction. This would then be the middle. My, actually my, my little stem would move over. This would be my construction. Alright? And then to actually draw the object, we would then have to pounds this, this is a kneaded eraser. I didn't list us in the materials for this class, but a kneaded eraser is a nice race, will have its 11 that artists use the most. And it's slightly sticky so it actually, you pounds it in and pulls the material off. And it was something like charcoal. I'm using char or I know it's so dark that I have to I have to pounds it first. You have most of the charcoal off before I then use it side to side because if if there's if I don't pull the charcoal off, it'll just make a mess or smear all over the place so that once I pounds to it enough to get most of the excess charcoal awful, then I can use this as a normal eraser. So again, normally this would be very, very light and subdued. And then from there I can actually do the drawing where I'm like, okay, well this comes over here and this overlaps and comes down. And then this far part of this pairs is coming from behind and coming forward. And then this comes over here and this comes down and this kicks out down here and this, this comes down to the foot. And the foot comes turn to stone, tries to tech under, but there's another foot's part of the foot that count overlaps that. And then there's that part of the foot here and then there's another part of the foot that this overlaps that. And, you know, this tucks out. And then this projects out a little bit. And this comes here and then it comes down. And this is basically my pair. Okay, that's, that's how we would, you know, draw this pair using a construction method. Right there. There's all the basic stuff put together for the sketching. Let's see if I can achieve, because I actually laid this out to do this yet chance, let's see if we get rid of this enough. So these are kind of fun the way that you clean these as you've, you need them, like bread dough. And so you just stretch it and then you put it back together. And so it's malleable is kinda fun. Again. It picks up the, picks up the, the medium because it's sticky. It's not sticky like gum, but it, it pulls stuff off the surface. K. So let's go ahead and erase this. Because we're going to talk about construction. So while the Taiwan is a more effective way with construction, because with a quick sketch, we're just sketching stuff in just to place it. And then we want to start to impose the heights to width ratios for. That we take from our proportional measuring. And then we get though the rectangle and then we, you know, and then we keep going. So this is to help jump through a couple steps. So instead of starting directly with the directly with just a quick sketch, we would instead do take measurements and say OK. And what we want to start with instead is we want to arrive at the rectangle. So we take some quick measurements of that. And of course, we're also trying to keep in mind that this rectangle has a particular amount of area. And how does this rectangle relate to the Q? Because there's a queue behind it. But we're not gonna make a queue. We're going to actually turn into a square for now. And so I can see enough of it to see that it overlaps. I'm going to show my overlapping of the squares. Okay, so this is how we do the sketching for it's another way of sketching. This one kind of, you know, can help once you're used to in visualizing what stuff is, it's very effective if you, if you can't very well visualize what stuff looks like, you know that this start to see the object in the and the square which you will do, you'll start to actually see the object fit inside this thing. And that's a really good thing because that means you're doing it. You're, you're, you're doing what you need to do. And then we'd say, okay, and then there's the bottle, and the bottle is gonna go off the page. And again, we still have our incremental measure. We'd be, you know, we try to get as close to the basic proportions of this as we possibly could. So now this bottles behind here, but I'm trying to see through it. Like I can see through this pair. And I will say, all right, this is where the side of that bottle starts. And it's almost like one another cup stacked on top of each other. That's about the height of the bottle plus a little bit. So we'll just say that's the height. So now I'm relating stuffed other stuff. But again, this is, and that's what you wanna do. You usually with measuring people go nuts and they measure too much. And what we wanna do instead is you wanna measure just enough to make, you know, a better drawing. We need, need just enough information to point us in the right direction, and that's what this will help us with. But this is also composition. So I've got my bottle here. And then the last one is the margarita glass and the mortar reading glasses over here. And again, if we're putting the martyr 3D last and we have to, again, we're doing this, overlap them. Artery glass overlaps the bottle. So the rectangle for them, martyr 3D glasses inside the bottles rectangle. And so it really helps us with things that overlap. It's really a great thing. But what I mean by the composition is that this margarita glass is going to be actually off, off here, off the outside of our drawing. And then plus we have the tabletop. Ok. And you would ask yourself, does that look right now I could go or if I move everything over, we could certainly do that. So again, we would do these very lightly, very gently so you can raise them so that way you don't have to. You know, you don't, you know. So that way you can then start again. Again, you're gonna be using graphite. This is charcoal. Graphite erases a lot more easily. I just use the charcoal for the videos because you can't see the graphite. It's just even the darkest graphite pencil does not show up all that dark. So again, we're using as little shiny too, so this stuff just shows up better. But again, I'm gonna go, I don't like this kind of clumsy The way that kind of drifts off the page. And so I could I could then decide, well, do I want to keep the margarita glass or do I want to drop it out? What if I dropped it out? Well, I can go ahead and say, well, we're just going to take this out, open that up. And now they'll just be the bottle, the pair, the, the cup and, and the cube. So this is how we're going to sketch in preparation for. Now, do you have to do this? No, not necessarily. If you're like, I don't know. I like the other one will go ahead and do the other one. But understand that you're going to have to sketch the stuff and then take that stuff and get a proportioned once its proportion then put it in a rectangle. And this is what we're starting forever, that rectangle. So we've already done some measuring with this. We want our incremental measure. We want to have everything down by what that incremental measure is. And, and then we're gonna go ahead and do. So this is going to be a little, You're going to be as quick because we're actually taking the time to measure things before we start drawing. But that's the idea. And then once we've got this, let's say this was our sketch. Yeah, okay, the proportions are right, this is in proportion to that, that's proportional to that and so forth and so on. And again, I can say, well, I'm thinking that this up here is the, is the top of the bottle. Sometimes feel like, well, what, what happened that that's the end of my paper. Well, well then what would I do? Well then we just use these points right here. We go ahead and find the center line. The next part of this for the construction is we need, we always do the center line. We did the same thing with the with this proportional measuring. We need we need, we need the box so that we can then divide it. Use the armature of the rectangle to then create X marks the spot. And when we do that, we then get the center line. Now again, this was the pair and we already broke this pair down. But on like let's say we're doing the cup. Well then for the cut, and we need all four corners. We need to draw through these things. We need to start visualizing through objects. It really helps. And I remember an old, There was an old. Well, my daughters were young and we're watching one of the, one of the wonderful Disney films and they were showing that they are getting ready to release a new Disney film. And I had this little crowd scene. And there was showing it wasn't, they didn't even have cholera yet there we're just showing this the drawing stage. And I had like six or seven people that represent this crowd in a city. You know, it's close up with this, this crowd of people. And you can see that the hadron each person individually and then stacked them to make them in this crowd. And the reason they do this, because you know that the drawing is correct. It helps you put things in the right place and that way you don't have weird like so D20 will draw stuff and they tried to start tucking stuff around it and behind it without thinking of the entire object. And it starts breaking stuff and stuff starts to get wonky and we don't want that. So again, we need our center line for each object, or at least things are symmetrical. This is of course is going to be different because it's a cube. But I do won't work as the core of the cube and the corner of the cube is right here. And then of course the, this is supposed to be the entire rectangle that has n. So that means the back of the cube is somewhere over here. And this is basically going to be forward a little bit because we can see the top of it. But anyway, so we put that there and that there are when we could then go ahead and, you know, why don't we take this and make this into and into a minimum, we need the bottom corner of this comes down, this would come over and we'll be there. And this would go to there. And then we can check that by measuring with our thumb and the end of the pencil and going, okay. Is that the center? It's not, it's little, it's close. But that right there is a center. So I was off just to buy a little bit. And then we can go OK and we have the center line for in case we need to mirror or when we construct ways, construct with the center line. So we could then go, Alright, well there's my, here's my center line that I can use to construct. Now, if you're having problems with the center line, like sometimes feel like, well can I kind of use a straight edge? You can't but try to draw by hand first. And then if you need to straighten out, well then grab a straight edge and straighten it out, but at least try to draw it and get all the kinks out of it. And what I mean by that is any errors or anything like that, anything that's not quite right. Get that out by by hand and then straighten the stuff out. So this is how we're going to lay our drawings out for, for our sketch part of this in, when we're going to start with with construction drawing. Again, if this seems, if, if this seems too abstract against Sometimes people get started, but like I don't know that I could do that. Well, then do your rough sketch and then get your incremental measure and then get the rectangle established and then put in your center line. So all we've done is we've, we've leapfrogged over a couple of steps, is all we've done. And then we can start to construct, and we already constructed the Paris. We put the pair back in here that the pairs kinda sorta. So this was kind of our little pair that loops. And when I come in for that, in the front of that, came over here. That came over there. This is coming out through there. Something about like that. Okay. So this was our pair. Like so. Okay. And again, we go, Okay. Yeah, there's my pair. Gotcha. And we could do the same thing. Okay, well, here's, here's the cube and what could ever cube where we're looking at and and is it a front view or is it a corner view? And so I've got a very slight corner view. And so I can start to build the cube using that information. Actually, this is over here a little bit more. In terms of that corner, that's alright if we, again, if we're not right, the first time, we can always change it. It's not that big a deal, it's really not. And so you'd say, okay, there's my, there's my cube and this is where it changes. The corner changes direction and it's going this way, like so. And then along the back, these would need to be parallel of those lines right through there. So that this would come back over here, right? And again, we can say all right, how far does it come over? I think, you know, I, I guesstimate of these didn't measure them. So I think the cube would be, would end right here and right there. You know, if I went ahead and drew this, I'm like, Yeah, that looks more like a cube. So I got a little bit long. I just again, I guesstimated it so I corrected it. Again. A lot of these exercise are to help us get a feeling for proportion and, and, and when you use it and when you use like construction method, more than, you know, if you've used it like a dozen times or more, you get really comfortable with it very quickly. But what, it's not just that, it's that it starts to help us see things differently. We start to look at things in a completely different way and it is very beneficial for our ability to draw I think the back corners right there for that cube. And now I can get rid of that Pat Corner and I've got okay, and then we go, all right, and now we're gonna do the, you know, the cup and we can go ahead. Now again, I can either construct with a flat shapes or if I'm really comfortable if, if you've drawn before and you're taking this just to kinda see, hey, what else is, you know, what's your take on drawing? Well, there you go. Okay, well, I'm just gonna go ahead and go right on into volumetric shapes or the 3D shapes. And I'll go, okay, this is a cone right here and this is, you know, and I have a pretty good feeling for the symmetry. And, and that would then be, you know, this, this object there. And then we have a little foot that comes in like so, and that would have an ellipse there. And then we have another little, you know, again, a cone that comes out like so. And that would have an ellipse right there. And again, we can go ahead and draw this, this out and nicely. And it's also just some of the drafting equipment I've got over here. Let it be known that it's here in the area. Yes. But actually I have just bumped it. But anyway, so we could go ahead and again make this. Now again, this drawing of this little tea cup and all that sort of stuff, hand can draw teacup without thinking of the little chip off a Beauty and the Beast. Or Anyways, you can't. He's drawn this, this little cup here. So, so that right there again, we've got, you've got the basics of this, this little teacup. Drawn out now, it seems like the symmetry is off a little bit, but I think you understand what we're doing on I could go ahead and bring this even closer into cemetery just to you, but this isn't about, oh, look how great that drawing is. It's really not about that. It's about the idea of being able to, again, I'm drawing this much darker. We'd be using graphite, so it's going to be much more workable to get rid of. But still you'd want to use light pressure, you know, while you're drawing this so it doesn't get to the drawing, doesn't get too dark and doesn't get away from you as far as that goes. So I'm gonna try and clean up these lines just a little bit as we're no. So we can just see in these lines a little bit, this lips come around his little really rough on this side. But anyways, but again, we just keep on constructing. And the idea of this, this is still, this is still in the rough stage. This is not super, you know, if you need to, I could do some, you know, some of the mirroring technique. This still seems out that's probably along this curve is not the same as that curving or remember, curves with the hardest things to do so we can plot it out and, and get that, you know, taking care of. But so when we do the rough sketch, we're going to use the rectangles. And then we're going to start developing the rectangles. Actually got further into this, then what I want to, but I think you get the idea. So because SEO is doing, again to speed it up, we could say, alright, well, let's say this is my, my, my little sketch. And again, this is how quickly Sig, and quite a few minutes to talk about this, but we go, okay. This is my allowed spaces as my window. That's going to be, you know, my view to this wonderful little world that I'm doing, this still life. And I've got my bottle. And the bottle is a one by 2 third units. And then we'd say, okay, and then when you've got my pair, which is almost like a one to 1 third units are just pretty close and almost jumped right on ends at all, right. I'm going to start drawing that. Nope, nope, nope, nope. And again, he said OK. And I guess we're going to show this because I can tell you right now, I'm not gonna be able to fit the, again, the martyr 3D glass on hair. So if I say okay, that's the, the, the little teacup and this is, this is the little will be the cube. And then we go, okay, and we've got the Margarite less margarita glass is still going off the page. And so I would say, well, what do I wanna do? I want to, if I increase the more stoves can expand? Or maybe I could say well, let's see, I used a longer format. Well, that would work if I had a you know, if this was this much longer, I can fit that in or I could shrink everything else down. And if I was going to shrink it down, well, then again I'm like OK, I can use the user diagonal in there. Because we know anything that fits that diagonals that same proportion. It's just that it's now smaller. And I could ask myself, is that going to be small enough? I don't think it will be, so we're going to. Use that diagonal, but we're just gonna move this a little bit more K. So the fun thing is I go, Alright, well I can shrink this down, but it's also going to, you know, depends on this one. I, I've lost the velocity on this side and we can do the same thing. Here we go. Okay, well, if this is my pair right there, and we want this, this, now this is really formal. I could also just very quickly go out of this feels about right. But if I went to go well, if I take the diagonal, anything that meets that die with 90 degrees is the same. And I can try to kinda gauge, is this about the same as that? And I probably have to double check a couple of but I'm basically shaving this off. That much has been shaved off. And this much over here has been shaved off, right? So we're trying to really get this small r, So then we're ending up. And so we could say, alright, well, this right here is a rectangle. Where's the rectangles, eyes or corners create the diagonal. Bringing this. And so again, we're trying to shrink this down as well. I'm going to shrink that down to first off, we'd have to bring this back down. So we're going to have to do a little, you know, there's, there's, there's some There's some stuff that's going to have to happen. I've increased, push this down by that much, which means I've got to add that same amount up here to push this, this right here should be the same as this right here, pretty close to it. So that where little r, little r square is the same. And I'll know where I got this off, but this is supposed to be taller than it is wide, so we know we're off on this thing little bit. That's a little better. Okay, so I don't know where that golf. But then we're gonna take the diagonal. And then I'm going to shrink this down. We're trying to kind of shrink it. Similar to what everything else has been shrunk by. But by doing this, we're going to end up with a good just smaller, smaller, little increments that have all been shrunk down. Now that's a very formal way of doing it. Or I could just make them smaller again, kinda make them smaller and trying to visualize them. And then double-check that the my incremented measure and just make sure that they're all in line. You know, you can use your measuring and then double-check that the so if this was my incremental measure and and the incremental measures from the corner. Well, I'm gonna go, okay, there's my incremental measure. And if this is two of those tall, again, so many wide will then again, we can double-check and make sure very quickly that it's all in proportion. But the reason we did that was we were trying to get in the martyr 3D glass. This is the tabletop. And we're trying to do is to get the margarita elastic fit. So you'd say, all right, well, the margarita glass. Wow, almost. So the margarita glass comes into into this by about a third. Okay, and so it's a third and a little bit. So this is the third zone and put two-thirds over. And I added just a bit. Pardon me? But again, we can go ahead and double-check our measurements to make sure that we've got them. But we've made this small enough that now we don't have the margarita glass going off the page. This is Artery glass, just little bit tallness. This is where the cup is, but this is already just a little bit taller. We'll bring this over. And they'll say, Hey, how calls us to that. And again, we can double-check with our incremental measure. I think, I think this would have to move a little bit. I think it's a little too tall still. And I think they're a little bit at a wax. So you're going to take my career measure and I just basically nudge them because they're not off by a ton, but they're off by a little bit. I just can tell from the rectangles, but that's all right. And again, sometimes feel like why are we doing this again? Can someone please remind me? Because you're going to start to get more used to what type of rectangle am I looking at? And I can say, oh yeah, that Martin relapse is almost a one to two rectangle. And oh, yeah, that, that pair there that's like that's a one. So 1.5. Well, no, it's not a 1.5. It's about one to one the third, you know, and you just get more sensitive to the rectangle. And by doing that you can actually, you have a better sense of proportion. So this is all to develop this sense of proportion that we have withdrawing stuff. And again, sometimes people think of the home and that's, it looks so contemporary. No one does this. And that's not true or that you can go back to sketches, bye, bye dementia and other folks in the Renaissance. And there were composing this way. They were enlarging stuff this way, they were constructing stuff this way. This goes back hundreds of years and it may even go back further. Some people claim it goes back far before the Renaissance, that it stretches back to the Greeks and the Romans and other civilizations. There are more ancient. So again, we're going to, we're going to try to use this to get a better sense of the objects that we're drawing a better sense of proportion. I'm going to have the photo on here so you can kind of see what I was looking at while we're doing this. And but still this is again how we're going to want to approach our proportional measuring. Because again, all we have to do x marks the spot, get the center lines, and then start constructing. Okay? And remember when we're doing the constructions that were not ignoring center lines, we need center lines were not ignoring the proportions were site measuring, we're doing all that stuff. We've just added construction to all that other good stuff. Alright, so this is a really great method and if you'll do this, I guarantee you it will, it will really help your drawing and ways that you won't even believe you wouldn't hardly be able to believe. It's just that great of a method. You have to forgive. So my lines again, I am drawing here on a flat surface to make it a little bit easier for you guys to see. And it's, it's a little easier for the, you know, creating the the video on such on, I would be working almost want to true vertical when I'd be doing this, or at least have Maya. My drawing. Here are some might know my drawing horse, My, my, my drawing board on my knees. So that again, it's at a slight angle. And it just that way I'm not drawing a perspective, which is the best way to draw. So I'll just clean this up a little bit. Kind of give this a little more. And sometimes you might say, hey, does this seem like this is still too close compared to that? You know, and so we could always go, well, you know what, if I think it's I think that's too much. I can just cut it and all of a sudden, this now might be gone. Yeah, that looks a little nicer. Can put this little one is about 1 third of that. And it might, so again, you'd get more, you get more aware of proportions and the more you draw. And that's how you can leap frog. So sometimes people will just go right into drawing people gone. We'll see he's not measuring. He's arguing that construction stuff. He just jump right on in there. And many times there are, they're already doing that stuff in their heads. In fact, most times, 90% of the time, whether there, and I'd say it's a 100% are there or wherever or not, because that is what's, what happens in the brain. Is the brain is actually thinking of this stuff in its basic proportion, basically abstract way. And then it's interpreting it through the person's hand is they're drawing it. And so some of that's been drawing for 40 years. They'll just jump right on it. Or someone's been drawing professionally for ten years or some, again, they'll jump right on it. They only those see, they're not measuring, they're not doing any of that. It's because what they're doing is built on thousands, if not even more, you know, tens of thousands of hours is very easy to, to rack up a 10 thousand hours of drawing when you're when you're going to protect my professional for, you know, ten years most, most artists, professional arts are working 80 hour weeks. So, you know, ten weeks of that, You already got 800 hours, you know, so it's very easy to get that. Now I'm not saying I don't want to throw that out there. Make UGA holy smokes. Is that what I have to do? No. But you do have to practice it. And I'll tell you if you do this, you know, at least ten more times with different types of stuff using the rectangles and stuff. And better yet would be if you did 20-30 times, but if you do at least ten more times, doing other little still lives and practicing this, again, you'll be n If you keep a, like a little sketch books so you can thumb through it. You'll be amazed at how much this really helps. So again, it's a really great concept. Use it in your drawing and it will help you build a WHO helped your brain build a better sense of proportion, which means you're dry and will get quicker and more accurate. And who doesn't want that? So go ahead and give this a shot. We're gonna go ahead and talk more about the assignment and the, you know, the photograph that we're gonna be working from the reference and stuff. But this has been, you know, using sketching for construction. Alright, now, take care. 7. Still Life Drawing Part 1: All right, welcome back. So what we're gonna do now is we're gonna go ahead and get started on this drawing. We're gonna go ahead and use construction drawing and schematic drawing. And we're going to go ahead and make a drawing with it. Again, we're gonna be using those circles and triangles and squares and egg shapes, whatever we have to use ellipses. We're going to build things from those core stapes. We're gonna start out with a rectangle with a height and width, and then start building once we have a center line. So that's how we're going to do this drawing. It's a little different. It's a really great tool though. This is type of drawing is used by, I'm comic book artists and illustrators, and animators and cartoonists and graphic designs. It's the most commonly used. And so we're gonna do that today. We're gonna go ahead and get started on this. So the first thing we do is going to find my incremental measure. Now, there's gonna be a photograph of the Arboretum using plus, there's going to be photographs that you can open up in the, in the course to see the individual things that we're drawing. To understand things a little bit better from our main current and measure. I'm gonna go ahead and I still have the Cuban here. But since we did the cube last time, let's go ahead and do something else. So I'm gonna go ahead and use as little cough, little teacup here. And I'm going to use the teacup height. So I'm gonna go ahead and measure that t, my increment of measure. And then I want to say, hey, how many, how wide is the drawing, how many increments? So I'm going to start at the, at the apple. And I'm going to count over because there's an apple on the left side that it ends with a pair on the right side. So you see how many increments that is when I say, Okay, there's 11234. So about five. So here we have five increments high. I can even make a notation here if I wanted to. Five, I, you know, I could put Ankara four increments and we'll put w for wide. I could just keep that as a notation real quick. How many increments tall is that? I'm going to take the teacup height. I'm going to start at the foremost, the algorithms of the foreground. And there is going to count up, there's 1.5234. So it's 4.5 increments tall. Remember with that incremental measure, it's all about how big I make that increment decides how big this whole drawing is going to be. So I think normally I wouldn't position the drawing so far. We're over here to the left, but it's so I can leave again some room for that image on the, on the right composition. I wouldn't push everything over to one side. So I'm gonna go ahead and I'm going to start probably with the Apple right about here. And we'll just start again counting those increments over. Now, I've got a little, just a little line here for the tabletop. So I'm gonna go ahead and put down. Where are the Apple would be? And if this is the apple height right there, if, you know, maybe I should use a little darker. If this is my increment. Well, then I, you know, again, that's going to be 4.5 of those tall. So I could go ahead and go right. Let's see. There's 1.5234 is all the way up here. That's a little too tall for me. So I'm going to shrink the increment down so it's all worth we're still trying to focus on this increment, how big we wanted. I think that'll probably be better. Then we go ahead and say, okay, this is my new increment. Height. Starts here. It goes up here. That's the new increment. This over here is just the tabletop. Probably can't see it, but it just goes across here. Like so. You try to move on to the way so I can stay with this drawing is much as possible. With this new increment. I shrunk it down. So I'm gonna go with k 4.5 of these tall. So you're gonna go 1234. That's four. If we took half of this, pick another half, put that on there. That's 4.5 increments tall, still pretty tall but not going off the paper. If I if I wanted to, I could shrink it down even more. You know, no big thing. And again, let's just double check that to make sure. Because I had some marks from the previous increments. K, I'm going to make this just a little bit smaller. I've gotta, I've got what's called an ice wine bottle that a student gave me. Again, well, all my bottles of that are given to me, mice by students as far as that goes. So and they're just so interesting, they're so fascinating. The I shrink that down. I'll think I did know. I don't know. Maybe. Yeah, I guess I did. Okay. Hold on. So yeah, we'll go ahead and do it again. So even in the beginning. So instead of just doing a sketch, so I'm trying to take a little bit more time. We could have gone a little bit more rough on this. But I want to track this. I want to show you, you know, yeah, there's sometimes people you'll have artists will get really flashy. We'll look at how I can just do this really quick. Banging it out as they used to say, you know, really quickly churn it out, get it done. But that's not what this eval most times that's not the kinda drawing were doing. And so it's not the kinda drawing I want to do for you either. I want to show you one where you're going to be a little more methodical. We're going to be a little more careful to try to get it done in a, in a, in a better way. So I take this increment again. Whoops, 123. That's four. And this will be about half. Okay, now that's about where I want to get too long either. So, you know, it's also don't want to tell us and I want to too long. I think that'll work. So I'm going to put a notation here that this is the height. This is where the drawing begins. And this is where we're going to start with that Apple is right there. So I wanted this my starting point. And so what am I going to do is I'm going to start where I'm going to put the apple. And I think I started confusing, cuz I said only do the copyright. And I start talking about apples. I've got to double check that I didn't confuse myself either. We can sometimes I'll get going and then read lock on someone else. So we don't want that to happen. I'm gonna go ahead and measure this with the Apple. Okay. I'm going to use the apple hide. I was or originally used the teacup. I'm just gonna go ahead and use that Apple highlights. I think I actually used that and so I'm going to lock that in once again. And there's similar highest, but they're not the same. So Yeah, in fact, I did, I did a a height measurement with the apple. And we're closer to six increments wide. Saw. The I'm just gonna have to double-check. I would just since I changed my increment what I'm using. Yeah, I have to rekey everything after remeasure everything. That's not going to be hugely out, but just by changing the increment and these increments are within like a quarter of an inch of one another of being the same. It really changed how big this thing is going to be. 123456. That's how wide that thing is. Wow. 1-2-3, 4-5-6. Alright, let's just double-check that. One of that's why. Okay, so there's another part about this is the same Apple is we used the last time, and the apple is wider than it is tall. So I used an apple width where I said I was going to use an apple height. And that's where it threw everything off. So because it's wider than it is tall, the apples almost as oblong. And so just that change was enough to change up the The entire entire still life. So this is going to be where this thing stops. Thereabouts. It, it's still good estimations, but they're going to be much more accurate than if I didn't make any estimations whatsoever. And then what we're gonna do is we're gonna start to now the part of this so we wanna do is you want to get to the point where we can start to visualize an object in its own box. If I took the height, this apple and check its width, It's more than a third wider than it is tall. So if I took this, that's the height, that's the width. And if I put this here, that's about one-quarter, that's going to be probably closer to 1 third, we're going to start trying to put all these objects into a box. The way it can do is I can take my pencil and light it up with the object and try to visualize the rectangle that the object sits with. Inside. The cube height is just over one apple tall. And the queue starts about a quarter of the way up the apple. We have again an apple height and a little bit, so I'll take the apple height, that'll be the height. And that'll be just a little bit taller than that. Okay? And then if I look towards the cube comes down now this is going to be a front view cube. And this front view cube slices this thing just about in half, not quite half. It's probably closer to like a three-fifths, two-fifths. We're not going to worry a ton about that as far as that goes. But there's more outside the box and inside the box off. If we went ahead and said, Well, where's the halfway point? And I went ahead and did the armature of the rectangle really roughly. And this was kind of the middle. Well then I can go OK, well, if that's the middle, I'm gonna guess maybe my third is gonna be right there or there abouts there or here. I can even do the entire armature for, I wonder find the exact third. But again, if I shift this over just a little bit, it's not going to be that big a deal. So I'm gonna go say, OK, this is where the cube starts and this is the top of the cube and that's not the back of the queue, but it's the top. And then we're going to say, all right, well this is a front view cube. So if it's a front view cube that and it's a cubed, then we start with a true square. So that helps me because the square is as tall as this wide. So that's the height. And that would mean that would be the width. And this is my true square. Okay? Alright, so this is again my true square. Now, how much do I see? Now? I see a little bit of the right side. If I take that right side and I divide it along the front. So if I took the side, I divide it into this. I find out that it's about one-quarter. So if I said, hey, that's about half and that's about half of that. That's about how much I c If this side, so I'm gonna, it's a quick estimation. But, you know, so I measured, I measure this front to the side, and I took this little piece of the side, I divided it into the square, and I found out it was about one quarter of the square length. So I just said, all right, well kinda cut this in half visually. That's a guest animation. Cut that in half. That's estimation, but that's going to be around a quarter. So again, this doesn't have to be too mechanical wear. We're, we're using guesstimate options by comparing stuff. If I really wanted to get into, I could compare it even more. But I'm not going to worry about it. So this is the side of that cube. While I'm looking at this, I need to be closing one eye. It helps you with perspective. Now I guess you don't have to worry about it because I'm sending you a photograph. And the photograph has been flattened because with a, with a camera you only see with one eye, you know, it's only got one lens. It doesn't have two lenses. You know, there's only one land or looking through. So it's what you'd call monocular vision, meaning I'm only seeing one. Now again, we did a quick, some quick measuring, but I did it with both eyes open. And what that means is that my, because my right eye is further from the cube, it sees more of the side than my left eye. And my left eye is my dominant eye, so I closed my right eye. This goes skinnier. So again, when you have both eyes open, you're actually going to see two different perspectives. You need to close one eye and that way you'll be able to see better your, your, your, your Cuba, so to speak. So I'm gonna go ahead. I did a quick measurement and I can actually see about the same amount of the top's like Canada side. So I'm just bringing this up. So this is this is a little different than we did the other one, but because I did a measurement here and this is about the same height as there, which should actually be up here. Okay, so that's supposed to be the top of that cube. This is really cool because now again, this is a front view. So this is a true, true square. Once I make this as this, which is about the same as this, I've got two corners or I've got this corner, that corner, guess what? There's my diagonal. So I kind of did this a little differently than we didn't. Instead of guessing of the diagonal or measuring the diagonal, I measure this and this. And since it's, you can't do this with a two, with a two. You can't do this with a corner view. This only works with front views. But because this measurement here was the same as that measurement there, I knew that I could just push it out the same distance and make a corner because that's where it ends and where this corner is and that core is I connected and that's my diagonal. And then we just have to make sure that this Angle is the same as that angle, freeing the salad but more to make sure this is about the same, but it's pretty close. And then I can come over here on this. And I can make sure that this is again pretty close to that same angle. And I'm Brian, bring these off further so you can see the line better to see if they are indeed parallel. Sorry, I just scratched my chin. I know I've got this lapel mic, so probably sounded like like sandpaper something. So again, we're going to go ahead. Now. Usually with our construction, we could leave everything is rectangles. Well, when I'm working with something that's really sort of a modified circle. I'm going to go ahead and just make it the modified circle. But this is going to be my, my Apple as far as that goes. And I think my Apple is a little wide. So again, whenever you believe your eyes, so I'm looking at that. I drew them. I go that's a little too long. That's way too long. So I'm gonna cut this a little bit. And that's all right. This is we're not going to sit here and measure and measure and measure all day long. We want to be able to do this as quickly as possible. Now, my, I have a cube high, which I always, I base this on this and it was, it was about the same height plus a little bit. Now we've got a cup on top of there, and the cup is about the same height as the cube. So I'm going to go, well, let's see, where does the Cup started? Let's say the cup starts right about here. So I'm trying to try to put sort of where does that cup start on the top of the queue. And then I'm gonna take this and I'm going to go ahead and mark one this corner because this right here is equal to that distance there. And this distance was based on using this to modify this. So they should be pretty close to in proportion. And what's cool about this is when we, and I'm going to, I can go ahead and take my pencil and envision that cup in the rectangle. This tea cup, I'm gonna, I'm gonna go ahead and look at the teacup without as if I cut off the little part that you hold onto it, the little you'll handle. We're going to cut that off and just look at just the vessel, the part that holds the T. And if I do that, I'm going to find out that it's a little wider than it is tall. Which is again kind of interesting that that tea cups a little wider than it is tall. So I can go through here. And I'm going to try to sit up a rectangle that is tall, just a little bit taller than it is wide. It's not quite a square. There we go. That's a little better. So here we go. And there's that. And this I think this needs to come back just a little bit. Well, that teacup. Again, because of the way of trying to get out of the way as I draw. I would actually never draw this way because again, that's dragging my hand through all the, all the graphite. And I'm going to end up with just the dirty hand, but not only that, the drawing itself constructed fill, stiff, over laboured, if you will, k Now this is a little, just a little bit taller than it is wide. And then we say, OK, well what's the next thing we're going to lay out? And we're going to take, and we're going to lay out the the ice wine bottle. And the ice wine bottle starts right about here and goes up. Now, if I took this distance, because again, I've already, I've already, I've used this increment to set this increment. And now we can use other increments as well because these, this was used to set this, which was then used a set that. And so we're giving you a little more freedom than what we had before. Just to just a sketch. But this will be where the ice wine bottles starts. And if I took both the measurement of the stacked the tea cup and the cube as they're stacked. And I go ahead and I measure them. And then I do and I stack another increment on top. Then I'll have I'll find out that this comes right up to the top of the ice wine bottle. But the IS1 Weibo is both the tea cup and the cubes stacked on top of each other. And that's about how tall it is. So this right here is about the height of that ice wine bottle. And now again, I've got the height. This thing right here. Now if I took a, the height of the apple, I measure the weiss Wine boy, ice wine balls are really skinny. It's like three-quarters of this height. Again, this right here is our increment. K. As long as the I keep using that increment, then everything will be fine. I'm gonna go ahead and take this. I'm gonna guesstimate what's about three-quarters? That looks like it's about three-quarters to me. It might be a little more than three cores with me pretty close. So I'm gonna go ahead and I'm going to mark that that this is So that's about three quarters of an increment of that. And there's my sweet wine bottle rectangle. Now, again, I could check that ice wine bottle because once I've got something anchored in with this increment, I can then use it's own proportion to check to see if that's correct. And the ice wine bottles about one to six rectangle. It's a really skinny one. Let me double-check that. Just under six. Pretty close. So again, we take that width and we go OK, there's 12345. Well that's a little probably a little short. So we're gonna go ahead and extend this ice wine bottle. Or if we don't want to make it. Because I'd cut this in half like so and cut that in half again, that's three quarter. Make sure I actually used a three-quarter mark. And it's not just it was a little thick, so so the next thing we can do is we, if we make it skinnier, that means it's, the proportion goes up with the height, the width. So if this is now my new width, and I'm going to rebalance it has 12345 and almost pretty close to six. It's beyond the halfway point and that's about where we are at. So we're gonna leave that right there for the, for the ice wine bottle. We then have this ice wine vol, overlaps a Qian TE bottle. And the key onto a bottle starts back from that ice wine bottle. I'm also looking at this and that. And I think this is a little high, so I'm gonna bring this down just a little bit. The key onto bottle is behind that just a little bit. As far as that goes. And I'm going to have to raise my my table line. I'm going to go ahead and check the angle on that and that's not bad. So I checked the angle on. I did the whole what time is it on the cube over there brought over. And it's about right, so, so that's good. That's good news. We're in the ballpark and this again, will probably make this ice wine bottle get even closer to what it needs to be. And then we're going to, we're going to come over here and we say, okay, where is, where does the key onto a bottle start in it. It gets cut off a little bit with the ice wine bottle. And it starts off right about here is about how far back it goes. And then it gets getting cut off a little bit by the ice wine bottle. And I can say, all right, well how many? And I've got this broken out, so I've got individual pictures of these objects so you can measure them to themselves. But if I went ahead and say, Hey, how wide is that? He onto bottle, It's about 13 quarters of an increment height. So take the increment height and we're using it for the width, so don't don't get mixed up by that. It was always the height. So it's one. And then we're gonna go to three-quarters. Now this is two. And we say, Well, there's half and half again, that's recorders. And we say, all right, that right there is the width, but now we need the height. And we're say, OK, take the height of the apple and then count off how many Apple heights that bottle is. And it's, let's see, that's 123. And maybe a third. So take this higher-income over here and goes to this 12 loops, 234. And we said, all right up about a third and so on. And take this and say that's this right here is about a halfway point. That's probably that's not quite a third that right there is. Yeah. Right. But right about there is going to be about a third. So we go ahead and bring that over. And that's now. And remember this is overlap. So this, this, these two rectangles are, are inside one another for now. And then we've got a martyr 3D glass. So we're gonna go ahead and mark them artery glass. And again, the margarita glass cuts into this about them much. The margarita glass, if I if I take my pencil and lineup them artery glass with a with what's called a level line and see if it's in front of this line that's slightly in front of there. So I'm gonna bring a line that's slightly in front of the ice wine bottle and school all the way across for that margarita glass. And we're gonna go ahead and take them on Glass. And it's everything I could do not to seeing an old classic song about margaritas on somewhere south of the border. But we're not gonna do that. I'm not gonna make you endure it. Hey, that's passed 13 quarters in terms of its width. So this is one, this is two. And then we said, OK, we're going to cut this in half. Cut then have again that's three quarters and has just beyond it. So I'll say I'll write that right. There is a pretty good guess estimation of being just beyond that 23 quarters. Now we haven't decided where we haven't marked down, how how tall, how tall this is yet. And so we're gonna take our apple height record of the margarita glass. I'm gonna say, let's see, there's 12 and just over half. So again, we're going to go over here. And we go over here. I'm going to say there's 1123. So there were three tall. But it's not well, it's not three. There's three increments on one of the three increments. So I can cut this in half and cut that in half again and again, it's just beyond the three-quarter mark. I believe I'm going to double-check it. Grab that height. And over here we're gonna go get 123 quarters, okay, ish. Now again, it might be just beyond three quarters. So I'm gonna go ahead and bring that down. Wait, what did I just do? This must be the height at the not not the width. Pardon me? Not so good for. Or we'll just say fig and do hard. Don't want that. There we go. So there's the height. Okay. So this right here, that's the height of the margarita glass. And right there. And then we have a pair, another pair. Want to cut this in half just very quickly, visually, but the pair is just past that. Alright? And if I take, if I take the height of this straight over, this is, we're going to use what we call a vertical alignment. So permanent a vertical line and a horizontal alignment. We're going to bring this over here. And I know the pair is shorter than that. I'm going to bring this line straight over. Another pair is above that. So I've already got some information here about this pair. On fact, the parent actually kinda cuts this right about here. So I can, I can measure this pair, or I've got so many things that are in sequence or that have been already been measured that it's going to be much easier to kinda get this pair can bring a line straight over because the para bring a broad storyline over and it cut this cube there. Sometimes I should take this over here. Right? And then, and I took this was whether by bringing straight line over, it cuts the cup off a little bit. And so this right here, again starts read past the halfway mark. This right here is the height. Whoops, nope, that's goes beyond that height of the pairs right here because they're not there. That's the end of the glass. Alright, so this is not the corner, this was the actual core of that, of that pair. So the pairs and it come all the way down here. We then measured the pair up in the pair is it was 22. But let me go ahead and remember that. One. Just under Sue take this here. One, just under two. So that should be that should be good. We also have, you know, so we have this place in about the right position. We have, you know, we had the height of our ie, the width. If I took the width and measure this well over 13 quarters. So again, I can take this and you come over here and that's one, that's two. And we can see that that's about the three-quarter mark. So this is, this is now going to be the pair. So what I'm gonna go ahead and do is I'm gonna go ahead and clean this up. We get this. We get this cleaned up a little bit. I'm going to race away the marks and then we're gonna come back and we're going to set the center lines and we're going to go ahead and and go from there. And it was also, I guess I should say there's some little cherries and this still alive. So I could just go ahead and put those little, little circles that juries in there. At this point, if I want to sort of that small hold off a little bit. But I can go ahead and I went to and just kinda lay those and see what I see what I think about about that. But they're really not that important. So there's stuff is far more important, a little cherries. So again, we'll clean this up, we'll come back and we'll keep developing. Alright, so we've come back. I went ahead and darken the rectangles of all the individual objects are going to have him but the cherries down there but didn't matter. I then went using armature, the rectangle we put we put diagonals, then they go corner to corner and corner to corner. X marks the spot that's the center point. And we dropped a line straight through that center point because that's the central line that we use for marking our symmetry. Okay? And so we've got, and again, the Apple II is kinda modify it a little bit into a quick apple. Again, we have the cube, that scene from the front view. I've started a mark off some of the major, minor axis points. As far as that goes. Now on this one, I actually broke outside the rectangle. Same on this one. But this one goes up and into the rectangle. It doesn't matter. I just I just decided, well, the foot's going to come down a little bit. The foot will come down a little bit. This one knowing only the foot to go down that's going on. So you can make that decision depending on what's going on with the drawing. So we're gonna go ahead and start doing some constructing. So let's do the tea cup, because everyone, the teacup can visit a couple of things that are really quite challenging. It's going to be the margarita glass and the tea cup. And I didn't put in my center line. So let's go ahead and put in that center line. And my sterilize a little askew. And I just I watch where the line cuts another line and I asked myself as a 90 degrees, that one was leaning a little bit so when hadn't strained it out. So if we, if we look at this, this teacup, It really is, and it's deceptive because it doesn't looks like as tall or taller than it is wide, but it's wider than it is tall and part of his, because this wonderful fluted top of that teacup. 8. Still Life Drawing Part 2: It really is, and it's deceptive because it doesn't and it looks like as tall or taller than it is wide, but it's wider than it is tall. And part of it is because this wonderful fluted top of that tea cup. Now we're gonna straighten this out. And what we're going to turn that into a trapezoid. Now you're with construction and helps us get to a place of symmetry much more quickly. It's also nice that these diagonals, like I could tell that the diagonal of this side was off because this one meets the diagonal now one didn't. So again, we'll start off with this trapezoid, or we could call it a modified triangle. I think that's actually a little, it's coming in a little bit too far. So maybe or maybe I will I can break this into two. Now. I will just leave it, leave it right here for now. But so I think what I'll do is I'll go ahead and bring this down so that this is a little bit less of an angle. Do the same thing on that side, bring this down so it's a little bit less at an angle. You check that line because this line is looks like it's further out from the center line. Then this one is and it is. And it also seems like these near the diagonals off just a bit. That's why. But the, so we'll go ahead and start with this now again, these should start and stop equal distant. This should be 90 degrees. This should be equal distant from the center line. Again, we're just giving a nod to marrying. This should be equal distance from that center line. That's an unknown to them mirroring. And so again, we'd have this about like that. Now for the null, for the foot, foot actually is again, a couple of stacked trapezoids, right? This whole thing is kinda just trapezoids on trapezoids. Trapezoids. So it comes in a little bit for that teacup. And I'm also going to sort of drop because the foot is just a little bit thinner than the width of this this corner right there. So the foot's just a little bit in from that. So I'm going to just grow since I'm here already, I'm going to mark justin from there that that's the that's supposed to be the foot. And let's just double check it for its symmetry and make sure it's equal distant from their, whoops. And there too, there. And I'm actually going to check with paper. I think just because it seemed like that was a little loss or in a mark that mark that come over here. If that's that FAR over, that means my corner still out. So let's go over here and check this, this little piece of paper. And means my corners just out and it was not by much. Just under a 16th of an edge, close to just over a 30-second. But it's gonna make a difference. And then that would then be. The base, okay, now that's symmetrical. So this comes in now that this trapezoid Actually that doesn't take in that much, it comes about here. And it comes over. Now, there's a little song we can actually do to check to see if, if our, if our angles are equal, we could actually was rocked. The center line are really used this center line. And what we can do is we can say, look, I'm just going to bring this diagonal down and over onto my center line. And if this is 90 degrees, the center line and this is equal distance, that's equal distant. They should meet, the angle should meet at the same place on the center line, we've made an equilateral triangle. So we're back to triangles, we're back to. So we can use this to check that our angles on both sides are correct. We also have this little foot is also. Now this can get kinda confusing because we're going to have two interlocking triangles. But again, I can use that diagonal come up onto the center line. And that means that these angles should be pretty much the same on either side. These two angles are different, but right to left, that should be the same. And this one appear right to left should be the same. And we would go ahead and where those two meet, we would have our straight line. That's gonna give us two overlapping trapezoids. So let's, let's just go ahead and clarify this so that everyone can see what's going on here. So we've got this trapezoid here. Whoops, I'm gonna change the angle. There we go. And that trapezoid there, this trapezoid here. This then comes up there. And that then comes up there. And where they meet, that's the That's not a nice straight line with a To me. It's going to become an ellipse actually at some point. So this is down just a little bit. So I bring this up just a sketch. But we have again this, this trapezoid here. And then we can go ahead and just bring that in. And again, this is going to have a succession of ellipses. There's going to be ellipse at the top and ellipse down here and ellipse down here, an ellipse with the foot. We're going to use major, minor axes. And again, I will just straighten this out for right now. And again, that's the major axis where this meets that right there. That's the major axis where this hits there for this ellipse. These points where I hear we're touches right there. Those are the major axis points. This right here where I brought this side down. I started from here, which is going to be my major axis. This will be the front of the ellipse, back they live, so I just turned it into a rectangle. But so I want you to understand that this right here. That center point, that's the minor axis point there. Thus the minor axis point there. And we can start to build that out into an ellipse. Let's go ahead and do that. I think for these, I think it'll be a little easier to go ahead and flip this. And again, there's nothing against, you know, we've already made the decision of where it is. We've already figured out where it's supposed to be. And so now we can just come in here. Again. We go ahead and make that a C curve. Make this again a C curve, make this a curve arc. Make that a curved arc. And again you can go ahead and start Sue, make this into our ellipse. Alright? So this right here, and then turn that into an ellipse using the major, minor axis. Alright? And again, I wouldn't norm if you sell me in class, I'd be, I'd be working sort of on a 35 degree angles, sort of like a drafting table. And it was closer to 30 degrees. But anyways, that's a little easier to do than straight up like this. At least for the finished stuff, you know, again, for sketching. But if I was again, I'm sketching, it would I'd have to get in front of this saying I'd be in your way, but we have our lips. And we're saying I'd be putting that lives in a whole lot looser using my whole arm instead of right now, I did that with my fingers, which is a little too tied. Actually, you shouldn't really really do that. But again, it just hit me until you've got it locked in enough. If I did a really loose when I go Okay. We're going to lock it in now. Well, that's fine. But sometimes if you're not careful, if you get too tight in the beginning, it can it can create issues down the road. Now, this is actually isn't a straight line. This is, this is a straight line, but the cups not it's actually fluted a little bit. So we're gonna go ahead and flute This, this, this couple a little bit like so. Now again, this straight line helps us so that we can see that the, this where it goes into the line. I'm going to judge it. This next one that follows that same arc. If it doesn't well, then I could go ahead and mirror it. But the widest point of this is right about here. It comes off about that much. If flutes more at the top and then strings as it comes down. Okay? So again. We're going to end up with something that's much more symmetrical, much more quickly with a lot less mirroring. Now there are certain times if I had a very complex curve, I might have to break it out like we did in the last drawing and that's fine. There's no problem doing that. That doesn't mean you're doing anything wrong. It just means if we don't need to break everything out, so like that, every time it's going to be much easier. And so again, I, you go ahead and put the rest of these ellipses on here, on this, on this drawing. So again, We'll go ahead and put that in there like that. And again we'd have this ellipse. Now again, we've got the, use that center line for the major, minor axis points far away, or we got the major, we need the miners. There we go. I'm gonna bring this around. And it's going to curve right? Now again, I'm not, I'm not going to draw all the way through this. I mean, I could, but for right now, I'm just, I'm going to, I am thinking of, of that hook. And that's the whole reason I will sometimes draw the whole lips is for that hook part of it. So, you know, again, if I don't need to the bucket, we're not gonna we're not going to somebody go ahead and put the rest these ellipses on. I've already got the major axis, axes marked. We'll just go ahead and do that and come back. Alright, so I just put these arcs on and I'm in the process of cleaning cleaning this up. But you've seen me do this before. And again, if I thought these ellipses we're in trouble again, I would draw them all the way through the back. I think these are I think these are okay. Not amazing but the work up there. All right. The one of the foot though has gotten a little word, so I'm gonna go ahead and hook that around. Yeah, that's a little bit so it means the Hooke little further. Further. Okay. Well anyway, it's just some little little changes. Again, these aren't straight lines is are these are, you know, they swell out just a little ways. So I could go ahead and do that. But the big thing about this, you know, so we can go ahead and start to detail this a little bit. Have some fun with it. But the big thing of this teacup that people have, it's not just, it's not this little stuff though we're playing with right now. It's really about how do I put the I put the handle on there. You know, that's that's the big question that everyone has when I when I'm dealing with this little teacup was how do I how I do that? Well, that's your question. So we're gonna go ahead and put the but the handle in this little cup right now, but again, fairly symmetrical. And I didn't, I didn't have to do a mirroring. I just used this line and try to make sure that this arc is very similar to that arc. They started and stopped in the same place. And it all culminated to give me a much more symmetrical object much more quickly. And we constructed this again from a monoline triangle or a trapezoid modified triangle, modified triangle. But now we're going to put the but the handle on. Now the handle doesn't come above the ram, it comes close but not quite. So I'm gonna go ahead and make some. So Marx, about how, how wide it is. It also is above this just a little bit. Okay. And it's not all the way on the side. It's actually in here a little bit. Now it's a little bit in perspective. We actually will cover perspective. If you've seen the classes, the next class, we'll actually talk a lot more about that when I don't want to introduce a bright now because it's just so complex. So we're gonna go about this using flat shapes. And then from the flat shapes, we're going to build this little handle on here. So this curls under an attaches right about here. You're not making some estimations. But they're, you know, they're going to be fairly decent because I know all the starting and stopping points. This comes about here. And now we're just gonna put the shape. If I ignore the fact that this has depth and say what does that shape? It's just like it's a little c curve. So there is a very soft little c. Then I want to put on here, okay? Now the, the, the wild thing we have to keep in mind about this is the fact that it turns back in on itself and that's the thing that gets us in trouble, is the way this, this turns back. And then in on itself. I'm gonna go ahead and let's see, I think this would come out. Just, I'm going to modify my C. I'm looking at the sea that's up there. And it just looks like it's a little more modified. Always think of, well, if nevermind, I say minus we have a certain thing from a certain company by a certain mode we are produced. And you probably can't see on the video because I don't have the rights to use their names though. But it always reminded me of a very fond, fond memories of a particular show that my daughter who still watch when they were very young. But anyways, so we're gonna go ahead and this has a front side. Now there's a little bit though, because of my view now on the view that I've given you on in the pictures may not be this exact view. But the way this is turn now I actually see this racing off the side of it. So it's almost on the sidebar. Not quite, but I can see I can I can see this rays off right here off the cuff. Just a bid. That's the underside. And then there's also a front side and there's A backside. There's, you know, it's just like it's we're dealing with something that's cuboid or in other words, like a cube has a, has a left side and the right side. This thing turns. So there's the edge that, so there's the edge that we have of this cup that, that's important to remember. So there's a thickness to it. So there's the edge for this cup. But then because of the way it turns, I see. And it's a little rounded to it's, it's kinda wild. I see the see this tax is here and I see the top side of that curve or that is the top siding become down there we go. Which means I need to change the the thickness part through here is a little wrong, but that's all right. It's still just a seeker. But on this I actually see the top. Pardon me? Let's start this again. Let's start up here because this will make more sense. There's a point where I can see this turn under and this is a little bit of the underside that then turns. This is the thickness. Let see if I can get this clarified. This is the side. This is the backside that then attaches to different angles there. So we can see a little bit of the back and an underside. Then it disappears as it goes up. And this edge comes in front of it. Then up here we see where it lifts that we start to catch a little bit of the top side of this angle. So again, there's an angle here, this is the front and this changes in angle and that's the side. So we're seeing a little bit of that. And then this again disappears as this is coming in front of the edge. This is that the edge line right through here. So this again is the edge on here. Like so. And then this one we see a little bit of the top and then it disappears as it is. That edge comes in front of it and we start to see the back. So it turns, it's changing, it's twisting a little bit. Not really twisting this way, but because of our perspective, we see the top and then this coming from, we don't see the top anymore, but we see the back. And then on this one down here we're going to see the, will see it through the side and this side will disappear as this curves under. And then we will see, let's see if I've got maybe a little bit harder pencil, so it'll be a little more clear. But so this is the side. That's the side I lost some of the thickness through here. So let's put it back. That's right there is the side of this tea cup. And then we actually cached just a bit of, again, the top, on the bottom side. So this And it's, it's a little obscure, I believe, but the idea is that this right here is the side of it, right there. And then this is just a little bit at the top. So it turn it, we start to see different parts of it because of perspective. Give it the best shot you can. I know that seems probably a little strange, but it's also a little bumpy and frumpy through there. So let's let's change that. So again, that's the top. I try to races and clarify maybe just a bit. If we can. This again is the side that then turn as it turns, this begins to disappear and go underneath. So we can't see it anymore. This is the front side of this. That again is it overlaps and it comes forward. And then this is again the side. And again we see a little bit at the top. But then the this side swings forward and overlaps that. And then we start to see this side. So because of the perspective and the way this is twisting and turning, we start to see different parts of it. Like this is now this bottom edge. There's essentially the bottom of the cup. Or is this edge right here is the bottom of the cup, the bottom of the handle. Whereas this right here's a bomb that handled Linda disappears as and we just see the the edge. And so that edge is now the ball is the Bombay. The bottom would actually see through. It would actually be up here a little bit. But it's, again, it's twisting and turning as we're seeing different views of it. And it's because the thing is curved. If you're like, I don't know that I want to do the will. That's that's fine. Go ahead and leave it off. We've often little handle for now. But at least me, I'll try to do the body of this thing. But that's what we've got here. We've got this, again, this handle, like so. And this is the original line. Like so. Try to clean this up a little bit. And again this is coming around and then this overlap. So again we're back to overlaps. But that's how this, this will if, if we don't have it as one look, right, because what was actually happening? So if we actually had value now we're not gonna put value on here, but this would be getting darker as this is enlight. And this is, this continues down, this would then be lighter and this would be again darker once again. However, underneath this back piece would be, would be darker than this because that would be the underside for this little bit right here. So it's actually, this comes here, then it hits that line in a term changes direction. This comes up to here and then it changes direction. This comes down here, and then it changes direction just a little bit. So there's not much we can see that. And then this comes down here and this changes direction right at this edge point. So now you've got a handle on there on that cup. And that's what we want it while we're drawing, we want to be aware of this now. I think I actually, this should probably be able to still a little taller. That means this wood a little taller as well, but it's close enough. Close enough for thank you. Kinda understand what we're what I'm talking about. And if you don't, that's okay. If you haven't drawn before, you might be like, yeah, I don't get it. That's all right. Go ahead and just draw what you can. Again, I've got a close-up of this cub and check out the checkout, the handle. How looks. Alright, so that's, that's pretty much we're going to leave that there again. We could we could darken this up or what have you. But that's pretty much all that we want to see about the cub. The ice wine bottle is probably one of the easiest things, a Go on forests as far as scores, that is, if I wanted to know, I put markup here because that's the cork. This is the top of the bottle. If I want to know how long the neck is, again, I can measure the neck of the ice wine bottle and then see how much it divides into the rest of the bottle is just it's, it's almost a third, but not quite as little, a little shorter than that. So again, if I've got the halfway point, like so I can use the armature which says this is the main diagonal, that's the main diagonal. I could go from any one of those. Whoops to a midpoint. Then were you asked a lot better? And then I could check that. I could go ahead and mark that. And then I could check it to see if that's actually a third. That's one. And that's what happened here. Oh, that's what happened there. Alright. So so yeah, what we could do here is we can go from any, any midpoint. So there's a midpoint, this a main diagonal. We'd go from here to there. And we can go ahead and oh, that's why like that's not that's not right. That's giving me a quarter. So it's a little it's a little, you know, obviously my brains turned off. It's a little late. So what I should have done is I have, should have come from and go from here to a main diagonal point. There we go. And that's what I was doing. I have to come from this was for a halfway point to halfway point. That's an odd right? When I needed to do was to come from a main point to halfway point. So this right here goes from a main point to a main point. This goes from mainPoint domain point. This one goes from a 0.5 to another 0.5. That gives me quarters because I've essentially taken the diagonals of this upper right rectangle, done that what I should have done and part of this as this rectangle, so skinny. Sometimes, you know, and it's also very late at night. But if I go from this main diagonal to a midpoint, which is not what I did before. See how this is now in a different place. This was right here. That's my quarter point. That right there is my third. And so if I took this third right there, and now if I wanted to check it, I go, let's see, that's 1 third, That's two-thirds and whatever. Or if I wanted to be a little bit more clear, I could take this. That's a third and we go and see that's one. That's two and that's three is not perfect, but pretty close. So we said, all right, but it's not quite a third is a little bit less and it's not a quarter. So again, we'll just split the difference. Okay. So we'll say, all right, well that will, that will work. It's not quite as that'll work for what we're drawing. Then it's not quite a third. And so we'll go ahead and I'll double-check this real quick. And it goes one, That's two. That should be fine. Now the basic construction of this is that we have the neck, and the neck is about 1 third of the rest of the huddle or less than that. Let me go ahead and measure that. Now again, I don't have to worry about the Apple anymore because now that we've got the height, the width, we can use, the object's own proportions. So yeah, the next about half. So if I took this or even I already have my quarter points didn't die because of the way I did that wrong way across the diagonal here to there. And I went from here to there, you know, whatever. But I ended up with this. This is my quarter point. Well, the cool thing about that quarter point is that I have a quarter and a quarter, which would be a half and then this would be a half. And so I can go ahead and go. All right, well, let's go ahead and draw ce to the next. So that's right there. And this will go down. Right there. And then we've got a circle that connect. So this is the other, it's basically a cylinder sitting on a cylinder meeting answer rectangle, sitting on a rectangle. And we're going to use the top of the top of this. It's basically a circle stuck into a rectangle with another rectangle on top of it. So this circle, it's actually not quite a circle. It's more of its close though. So it's, again, we're gonna go ahead and right now it's an ellipse that's now a circle, so it was an open lips, but so we go ahead and this also helps you to do what's called Working rights left the center line. So this would then be the shoulders, the rounding of the shoulders. That then would come into that neck. Okay. So this right here would be, you know, if we wanna go ahead and dark in this so you can see it a little better. We'll go ahead and use this. You know. But as it comes down a little bit, is this He's ice wine bottles or just really crazy. How, you know, how skinny and how thin they look because of their proportion. Ok, so that right there. And it's close, there's a little bit symmetries off, just a tiny bit. At least I'm guessing because I didn't this is a skewed in my eye, but it looks like it's not bad but not, not great either. But this right here would now be an ice wine bottle. That this right here is the neck. This is then the body. And then we go ahead and put the ellipses on hair. So again, if it's, we're going to put ellipse as well. This is going to be the major axis point. This is going to be the minor axis points. So we're going to go ahead and mark those off. There's gonna be a cork that sits in here. That cork is going to be something about like that as far as that goes. So we've got that cork and getting the cork is going to have a tops or primary season seeing something that's an ellipse. So we're going to use again the major axis and minor axis points. On that thing. We'd have the major and minor axis of p on the bottom here. As far as that goes, you know, we could go ahead and we won't see that. Ok. So why don't we go ahead and I'm going to clean this up and we're gonna come back and I'll put the ellipse. There's major, minor axis here that hasn't ellipse, tops hasn't ellipse core Kazaa lips. There's also a label here and I guess we can mark that the label who was right about the halfway point, which is just above that cup, which is what we want. The label also comes just below this cube. So again, I can mark it off really quick. And then what would happen is we go, okay. Well, that's just, you know, this would then be my my points. Again, I could or I could just do this by hand, you know, until I'm satisfied with It's good and straight. Now would then be the major axis point. That would then be the major axis point. This would be a major axis point. That would be a mate where it hits. And then we're gonna say, well, how wide is, how open is that ellipse? So we're going to put tool to little dots there. I'm just deciding how much that ellipse will be. So now I've got the major and minor axis for those ellipses. I'm going to clean this up. We're going to come back. We're gonna go on, we're going to draw the bottle, the martyr of the glass. 9. Still Life Drawing Part 3: All right, so here we go. We went ahead and cleaned up that bottle a bit. Because actually this ball will go straight on up, which seems kinda clumsy, kinda weird. Which is a flaw. Design. Though. That's not the way they did the ball. So if I look at the bottle very, very carefully, if you go up to it, you'll find out that this swells just a little bit right about here, which I'm going to add eventually, but it just opens up a bit. And that way it won't feel like like it's like it's a dao that's been shoved into the top of, of something. But anyway, so we've got this, we've got again this cylinder here, we've got the cylinder here. We put on the ellipses. I did the whole lips for the bottom. And the whole lips here I get o. That's right. That would be seen because that's the top of the label in the label goes all the way around. And this is the bottom of the label. But we again, we have the cylinder, the circle with another cylinder. And then when this flairs up here would technically be another cylinder. And then we've got the cork in the top and the core probably flares out just a little bit more. It's probably a little taller. But again, unless, unless I really think there's a problem with the design of this thing, It's not a big deal. It just, you know, if it looks like okay, there's a cork in there, then it doesn't really matter. Now actually, I would, I would actually see this core coming down into the bottle. So that it does look a little weird because it's not in the bottle. And so we would just go ahead and add I'm going to have to play with that lives a little bit. Well, we'd add the cork actually going into the bottle itself. As far as that goes and falls off and the corks little fan. But we'll go ahead and I'll I'll correct that later. But all I would be doing is I'll just be adding all thickness here, adding a little thickness. They're adding a little thickness here, adding a little thickness there. It's it's not a big deal. But once we've cleaned this up, I think it's Eliott's started looked like a bottle maybe. And again, this is an ice wine bottle. And again, if I was going to do there's like some lettering on here. And I get if I was gonna do that lettering, I'd have to that's not a very good ellipse. But I'd have to put some good ellipses on here. Halfway decent ones anyways. That's a little better. That's a lot better than this one. So we just go ahead and get that cleaned up. I could mark off a major, minor axis to help me out that way. And then we would just be, you know, making the, you know, what, the letters block that out, put the letters. And there's also a little crest up here. It looks like an actual crest. It's like a line inside a shield or something very similar. And again, it goes, uh, right there in a block like that, there's another bit of lettering there, then it gets smaller and then there's some letter or some more writing there, then there's some tiny writing down here. So we could go ahead and add those details is needed. Now, I would never be able to get this to come out. So I didn't I didn't bother with it, but this little this little handle again Esa come up, actually need to come up about this far. A little small effect even that's probably kinda short. I think it probably has it come about that far. And this down here comes a little too down a little too far. So I lifted that. And then this down here can can open up a little bit too and it would get could come down there. So again, this would normally be done in a light sketch so that yeah, I could go ahead and erase it. Go ahead and make the make those changes. And those changes, if those changes were made, this would then be just, you know, really nice. It looks like it's got the right handle. It's just the handles to small. You'd never be able to get your you might you might be able to get a one finger through there, but never, but not too. So we'd have to, we'd have to, we'd have to open this alphabet. It probably becomes just a sketch wide or maybe like this. But that's okay. You know, in a lot of times we can't make a make a decision until we've got something there. And even if it's not the perfect decision, it helps us to then find the answer where I'm like, okay, this would cow would come up here, this would come out maybe there, this would come down, maybe the air. And I can look and I go home. Yeah, that would that would be that would be the change. And it would be much more accurate to what the what the cup looks like. I tried to zoom in on this a little bit more so we can see a little bit more of the drawing I think should help us. Now again, I'm going to be drawing over here on the left, which is way across. I'm left-handed. So this is going to be kind of strange. So you might see me kinda encroach on the, on the end of the frame a little bit as I'm trying to see what's going on over here. We're gonna go ahead and I'm going to draw this back bottle. And again, I'm going to take the neck of the bottle and I'm gonna take a measurement. And what I'm measuring as how many times the r, How many times does a neck divide into the whole thing? Well, it divides over four, so that means it's under a fourth. Again, if I went, if I went over here and brought this to the middle, using, we're going to use that armature of the rectangle. And in fact, all I need is I need to slam this line over to here. May give serves perpendicular and straight. And then I need the, the far corner on the far corner of this thing is wow, the far corner of this thing is right there, right next to the bottle. It's not on the ball was right next to it. And then what I would do is I go from this corner down to that corner crossing my center line. So what I've done is I've done one arm of that x and that upper box. And what that means is, and I could do with the other side too, but I don't need to because as this diagonals that goes to the middle, as it crosses that center line, that's a quarter. I could do the full acts if I needed to. I don't need to this as a shortcut. And I said, well, it actually goes in more than four times. It's actually 4.5. So again, I can go ahead and shrink that down to about there. And then take a measurement and then go how many times that divide and it goes, let's see, that's 1234 and that's not quite a half. And so we can go ahead and shrink it down again. Again, I could go ahead and, and these are again just estimations, but they are intelligent guess estimations, 1.5234. So that will be just about right somewhere. So it's either here or here. I think it's just a little bit more. So I'm gonna put that put that in there. I'm also if I check the neck, if I go ahead and take the width of the neck, now this is a key onto a bottle. So it's not going to be the same proportion as the last bottle we had. And I wanted to see, hey, how many times does that does the width of the neck go into the entire width of the bottle? Again, it's about four times. So I could go ahead and go, well, I'll just go ahead and take this. Cut that in half though you in my fourth, which I've already got. But what I've done here is I've divided this in half. And then I could go over here. I showed voucher to put the whole line and I have to now, i should have before but I was being lazy. So bring this over to about here. This is the midpoint on that side, that's the midpoint on that side. Bring this from this down. And again, now I've got by doing that, what I've got here is I've got the quarter point on this side. The quarter point on that side. And again, we've got 1234. While I said that it's a fourth of the entire width. If I took this fourth and that fourth, that this would be a fourth on either side, which would give us 1.5. That's too much. And so again, if I wanted to though, if I'm like, Look, this gives me a way to be able to guesstimate very easily. I can just go ahead and go well, that's I think that's about half right about there. Which should be 18. That's actually too much. That's about right there. Or I could just take from this dot over again, this is the quarter mark to that quarter mark and bring the quarter mark up. And now all I need to do is I could take this little box and cut that box in half. Because what I've done here is now I have found 1 eighth, that right, there's 1 eighth because I took and made the quarter points and merge them into a little box here that I then divided. And if I brought that straight up, lo and behold, same place. So again, the guest summation wasn't too bad. All I have to do is make sure that I am the same on either side. Well, that's that got, that got wide really quickly. The mark kinda get it because it's graphites little slicker than my charcoal. And so it sort of skip it over just a little bit. Okay. So there's my, that's my the width of my neck. And we're gonna say the width of the neck comes down to buy right there. So we're gonna go ahead and start with our our rectangle for the neck. So it's gonna be an eighth on either side, which is gonna give us a one quarter-inch volume, volume, but a proportion of this little rectangle to the, you know, so this is going to be a quarter and, you know. So we've got we're going to have, you know, a quarter and a half on this side, a quarter and a half on that side. It's probably not the right for action, but you understand we got an eighth here and then a quarter there. So I guess it'd be three-eighths if I wanted to be correct with my with my fractions or what have you. But I really do. I'm, you know, I'm not going to sweat the Hanukkah sweat the small stuff. I'm not going to I'm not going to lose sleep over and it's close enough. I understand when I met the basic configuration, this bottle is a the, this neck and then there's a triangle that comes down for the shoulders and there's a circle for the belly and then there's anyway. So what I did is I'm looking for the middle of the circle because that will have then I'll fill in the rest. The circle is pretty important because it shows where the belly is. It kind of like we did with the previous drawing. The belly was two-thirds of the way down. This is also two thirds of the way down. And again, the way we mark a third is go from here. And that while we can go from this corner or that corner, or that corner or that corner, any main corner tool to a midpoint who I could do that too. I could come from here, any main core to a midpoint. There's a midpoint. There's a main corner anyway, any midpoint to a main corner? I keep curling that line, so I got to I keep curling that line. Can I go ahead and there we go. It's better. So this right here is above my 1 third. Because it's where the main diagonal, which is right there, crosses the diagonal that comes from the middle to a main corner. Remember how before I would kinda sit as late last night I was gone. Oh, there we go. And I'm like, oh, that's a quarter. What did I do wrong? I went from a midpoint to a midpoint. That's not how we find a third. We find a third by going from a main corner, which is right, I went from here, there's a main corner and this is a midpoint and then it crosses the main diagonal which goes from a main corner to a main corner. So where that crosses, which is right there, that's 1. Third, if I wanted to, if I wanted to find it up here, I could actually bring a straight line up and where it hits this diagonal, that would also be 1 third. And you could bring it across in ways and use the diagonals because anything that meets a diagonal 90 degrees is the same. Well, if this aligns with a diagonal, that means that this is going to be equal distant from the center line, is that. And it's just a shortcut. Once again, we're not going to worry about that too much, but we get more into intermediate drawing. We'll wait, we will use shortcuts like that all the time. And it's just choosing the arm for the rectangle. So this right here will be about the middle of the circle. And it's actually more, it's actually more of an ellipse. I keep saying circle, but it's more of an ellipse. But if we wanted to know, some people will actually construct for very formally, or they would bring this over. You know, and they, Sarah, Well, that's the middle section of my Circle and that's the distance from there. And this is the distance to there. And that's the distance to there. And there's, you know, I've got the points from my circle and I can now start to do the circle and there. And we could certainly, you know, if we wanted to its URL, let's go ahead and do that. And we could create a circle. Got that off a little bit of my Margo UNGA, I'm going to clean this up for a second. I'll be I think I'll get a little lost reflect, but just to make sure and it comes through here. Okay. Straighten this up. Look at that line, make sure it's nine degrees and other side. Okay. Actually I missed that a little bit. So we're gonna move this up. So this will actually now be the center. So I'm gonna go ahead and go through it just so everyone knows that yeah, I messed up. I'm gonna go ahead and move it up because my line wasn't straight. That's fine. When we're first time certainly won't be the last as far as that goes. So a lot of this is just not sweating it, but understanding where you're going with it. And that's, that's a big, that's actually key. Will more, a lot of times when we're drawing is not to get flustered, not to get upset or not to get discouraged and all that sort of stuff. If we do, we're just gonna make it harder on ourselves. It's, it's not going to help the drawing. What you'll do and wanna do instead is we're gonna take a deep breath and then you start to analyze and you start going OK, what tools do I have? I've gotten mirroring. I've got the arm to the rectangle, I've got, I've got proportion. I've got all these different things that can help me to decide. You know, what to do, what the next step is. Like right now the circle is looking a little lack lustre. And again, part of this is because again, the way I'm trying to draw this part of this is because I'm so far to the left trying to get out of the way of the camera. So I can't be in front of this thing as I draw it. So it's, it's a lot more difficult, but why does it matter? Now, I know you're like Man Sounds like he's got an excuse for for every instance, flood. The why does it matter that the what matters is how are we going to, how are we going to solve the problem? So if I mark this here, and I mark this here, and I mark that there. And I took this, I say, well, it gives me some extra points to to, to aim for. And I went ahead and started, you know, again marking off some points again to aim for. As I'm drawing this, it can be, you know, an, a Nice, you know, it can be nice to help out in terms of figuring out where I got off. And again, I, this is my circle. I started this circle. I can certainly continue on making this circle. It's, it's, you know. So then I can just go case what would needs to what needs to happen or what what what was I off and I can see very quickly, okay. That was off through their Alright, well this was, you know, this, it's got a little bit off through there. This go a little bit off through there. Again, some classes get really formal with us where they'll actually have you. Create the, create the square, and then use the diagonals to track exactly where the circle is. This is, this is a quicker method and we'll still get a pretty good circle here. It may not be a perfect circle. I could take my time to double-check things. But this is just the basic construction of this. So I'm not going to worry a ton about it. But now I actually have to come from off the circle to this corner. The shape actually has to be what's called married. So that is what, this is an old term meaning that this, these two will unify and become, you know, become one shape. So this has to go through. This needs to go to the corner, not to the outside, not to the bottom here, but it's actually got to go to the corner. Now that rectangle and using that angle then make it, you know, touch on this circle. Okay? And I could even double-check if this is where this touches, the circle is right there. And let's say this is the point where it touches. I could go ahead and use a quick, you know, mirroring technique to make sure that this right here, and I could even bring the diagonal over. And then bring this over here. It's a little bit high. So again, I could use this point. Again. If this, if this is equal distant and 90 degrees, and these both hit at the same place on the center line, that's the same diagonal. So I've got this diagonal, this diagonal here that comes down, and then this diagonal here that comes down. And then this diagonal is married to the, to the, to the sphere or what? And the circle actually. And again this is r. So there's our rectangle triangle. This Qian antibiotics a little idea, the other bottle, but here's where it's really different, is that this circle, the belly continues but the foot starts. So there's a point at which the foot, let us say this is the foot right through here. And just so again we can see it will go ahead and make this line a little straighter. Again, I didn't recommend that the materials list, but if you want to get one of these, that's fine. But notice I'm always drawing the lines first and then if I need to strain it, I grabbed this. Always try to draw the line by hand first. Then if you need a straight it than straight it if you have to but don't don't strain it if you don't have to leave it, leave it alone. So I'm gonna go ahead and I took a slice to see where the foot starts. And I took my pencil and I visually place it on the bottle, see how much it cuts of that, of the arc of the circle. That's, that's what's called a vertical alignment where we're using stuff to kinda slice stuff up. Like bread and things. And it just helps us to visualize what's actually happening with that, with that object. So I was, I went ahead and measure this and it kind of was slicing. This is the end, kind of slicing that much off and give it a guest summation, I could go ahead and measure meticulously. If I was really worried about it. I'm not I'm not that worried about it. This should be close enough. If it's not, I'll change it. You know, not that big a deal. Because again, it just matters that it's symmetrical across the center line. If the foot starts a little soon. Yeah, that that's not a big deal if it if it starts a little late again, as long as it's not so far off, it looks, you know, looks wrong. It doesn't you don't want it to look weird as far as that goes. But the thing is this has a little foot and then this sits on top of a carriage. And so it's kinda wild. This bottle is, This is kinda just kinda while as far as I go. So we're then going to go ahead and come out from that point. And let's see, the foot is just n from the circle. I would say maybe about that much. And the foot itself is maybe probably bought the height I just made it, that's probably the height. And again, with this, with this rectangle, it's a little easier now, but I think that's a little bit skimpy little bit. There we go. But I can double-check. Is that foot the same distance off of there? It's maybe just a little little thin, so I'll thicken it up here on this side of it. Again, that's about and then this is about the height of that foot. And we come over here. It's about the height of that right there. Again, I'm trying to visualize I've got these straight lines that are helping me. And then we're gonna go ahead and go up into the, into the bottle. And I'm looking for a diagonal. I think we're going to use what looks to be like, you know, the radius of this circle or the middle of the circle cotton coming from the middle of that circle. A diagonal coming down from there. And I can double check what time is it. And I could check my my angle there, my angles a little a little soft. So we'll lift this just a little bit and change that angle. Softly. Softly angle change, change it, you know, so this one's coming here and this one's going there, meeting right there. Now and then come down there under that point there. Haha, right. What? I'll that got a gun almost done. So now all we're gonna do is again, we have again, just the part of this through here is going to be where you're going to see the, the belly. And then again, this actually has a little foot, we can't see it, but there's a little sits in a basket that they then we've over the top of that basket. And I think it needs to go up just a little bit more. Yeah, that'll work. Okay. And that means I need a correspondingly changed the other side. So I actually pay a little bit more time with this than I do a lot of times. I gotta admit I usually in, if you're in class, they get the abridged version and it's really sort of quick and down and dirty. But you also don't see as much about the drawing process. So again, that's why this is so important. I know it's it can be a little long to watch this. But if you I guarantee if you work along with me, if you, if you get, if you get this, your brain wrapped around what in the beginning can seem like a very clumsy concept. But if you, if you, if you hold out, do the work, I just guarantee that, that, you know, you're gonna get some some really good results. So this basket, sometimes, because it seems to come in a little bit. It does a little bit saw. That's how as I said, there's a so this would be if we connected that there's our, you know, our, our our trapezoid right there. And then this would be a corresponding Just a very soft trapezoid down here. But it's, it's so soft, I wanna keep it straight. Now there's a wider part of the top of this bottle and it comes N. And so we're gonna have a rectangle sitting on top. And so the neck is actually the next gets a little thinner. So I'm gonna go ahead and bring this in a bit because this is the wider mouth part that's for the cork. Now my bottle here is without a cork. So we're not going to put a cork in there. The idea is, again, we we're, we're, we're continuing to put more information on this bottle. This of course at some point we would then this is just, this is a skeleton. At some point we're going to come over here because these don't meet are right angles or glass. So glass bends a little bit. So there's going to be, you know, as this comes down and slams, its gonna softly turn. And then we go into that angle. And this would also turn a little bit as it flares out and then come up onto this water part of that bottle. Still need to put all the ellipses there be lips to the top and ellipse here. There's also, there is. This little bit they would hang these. So they there was a you know, so there's rope going around this little neck. In fact, this neck is probably just a little bit longer because I don't think I I I accounted for the rope. So I might bring this down a little bit more and then flared out justice coach, dn, give room for the rope or chord I guess would be a better term for those. A cord wrapping around at an angle. And so we'll just go ahead and get the thickness of that cord. And what we would have is just two ellipses. Now this ellipse is set at an angle. So that means we'd have a sort of a major axis that's tilting as opposed to these that should be truly perpendicular. The other thing we've got is that we've got this, this I don't know if it's called Batting or whatever, but it's this stuff that they weave around the outside of this bottle. And so this would have an ellipse, or this weaving starts. And the weaving is actually a little thicker, like it's like a coat. And so we put a layer going around this whole thing. Like a layer of clothing or a coat or a jacket or something like that, because this has a thickness. So it's gonna get slightly thicker as we dress it up. As, as we put it, you know, it's winter jacket on its winter code. And so again, it's going to have a little bit of volume and we're gonna go ahead and make it a little thicker. It also is going to, it's going to curve because this batting is curved. So we're not gonna get these points where again, these two transition points, sharp or the little circle meets the angle that sharp, but it doesn't do that. Instead it's actually a little, it's a little rounded through there. And then there's also, there's a cord that goes through there, just like this is the chord up here. Or what have you. There's a quarter out around here that ties it together. Again, we're going to put this on here. So again, we're going to have an ellipse. This would, again, this is going to be round. And then through the top here there's going to be in that chord, so that's going to be elliptical. And then there would be an ellipse here and ellipse there. Alright, so what I'm gonna do is I'm gonna go ahead and clean this up. I'm going to put an ellipse with the major minor axis here, ellipse with the major minor axis here. And I'm going to echo an ellipse through there, get this ellipse cleaned up. There's also one last thing is it's got one of these funky labels that is not straight. And unfortunately on this particular bottle and you get a different one where I just didn't like out on this and never gave it to me. But the labels at a at an angle, it sits on an angle. I went out to try to straighten it. But it's a really, it's a really funky sort of a, it's a fun label, but it's a little, you know, it's, it's kinda wild and it does this. And then it comes here. Then it has like little wings, the flare out. And the wings kinda, kinda do this. It's looks like a, like a spaceship off of some sort of futuristic show or something off the television. So it has a Wild and we'll label. I'm gonna go ahead and When I clean this up a little bit, but all I'm gonna do is I'm gonna mirror it. So I went to, when I get this look nice on the left, usually I favor my left side and then I'm going to mirror it onto the right. I'm going to do all that or come back and again, all it is is to get this to look good. Give me some points, straight lines across a center line. Get the points, their mirror that clean this up, put on an ellipse here for the core of the lips here, ellipse here, ellipse here, here, and here. And we're going to have, and that's going to be, that's going to be pretty much finished, finishing out this this bottle. So that's what we're going to do. Okay, so what we've done here is we want to head. Okay, so we've come back. I went ahead and cleaned up this bottle. I put all the ellipses on. These are all just, you know, ellipses. Ellipses. Well, that's the one at the angle, but for the cord ellipse. Ellipse. Ellipse. Ellipse. So all of these ellipses, So that's all we've done. We cleaned up the outside. We darken this a little bit for the again that the weaving that's on the county bottom. And then I took this and I get like I said, the one in the photograph, it's, it's crooked, but instead of putting it on cricket, I just basically try to draw this. I cleaned up this side of the mirror added on to that side. And so we have some that looks, you know, fairly symmetrical. It's still from here to here maybe is a little bit problematic, but we could again, we could double-check the marrying, get that, get that all all worked out. So the thing that I wanted to do though, and then again, it's wrapped here. We got some of the string hanging down there. I've gotta label there. But what I wanted to talk about is the woven stuff. So when people, this is just like detail. When people try to do the this, I'm not whatever the, this type of fiber as that they use. They immediately start doing like the line with the same weight everywhere. And a lot of times it's too dark, it's darker the Sunday Times and the outside contours. So it starts to it just, it just starts to be like these lines. So whenever we do stuff like this, we are going to look for or against some of the Lost and Found line. There's also some special things to be aware of, such as this. It has to go around the form. So another mistake sometimes people make is they'll just make him straight. And it's like, well, it can't be straight. It's going it's going around, around surface. I'm also, and we're not gonna get a ton into this. But because of perspective, though the little strips of this fiber that they use is actually getting, it gets, because it's a perspective. It starts to look like it's getting thinner as it begins to go around the corner. And again, that's, that's an important, you know, to the illusion that as this fiber comes out here, it's gonna get a little wider. So let's say we're doing sort of like the centerpiece. And the centerpiece is kind of funny because it's a, it's a perspective. All perspective means is that things start to foreshortened and distort. And we want to be aware of them. And what will happen on some like this straight is because it's curving back and curving back this way and that way, what will happen is many times and you'll get this where it starts to get wider towards the center and then thinner as it comes back in. So this would then be in a little thinner here and then come wider because coming closer. And then as it goes down, it gets it gets further away. Now, I've got this a little too much, that's probably a little better. But the idea is that that starts to happen. The other thing is that this is wrapping around. So these have to change direction because this is the side And that right there is the top edge. So I put a double a double ellipse or to show that there's a ridge line. So that as I'm, you know, putting this stuff on there, that I'm unchanged, changing direction as it's wrapping over and, uh, coming over and around as far as that goes. So again, if I start to do all of these lines the same, it's going to start to look like, you know, these are rigid and some sort of Gore or some sort of, you know, something like that. So we want some variation again as these go further, right or left, they again began to swell further and further out. There are also overlapping, so they're not, they're not straight. So you'll have some that'll kinda curve in closer than others that are carving out. Because again, the way the overlap, these are not perfect. So there's gonna be some irregular irregularities in terms of the overlaps. And this also comes down here, but this would also becoming out here and then coming out and then rounding down and around. So this, you know, so you start to get this stuff again, rounding under and things like that. What you really want to do is where there's a starting or stopping point. Usually you'll indicate its strongest, you know, sort of where it's starting from. And then you'll blow it out as it gets further away from there. So as it comes under here and hits this little cord, it can be slightly darker and as it comes up, it can get lighter. And then certain one of these can be darker while others are lighter again, these will overlap, you know, irregularly. So I want some variation down there. Again so it doesn't look too much like it's like it's trying to be, you know, some sort of ridged, sort of gourd or some sort of heirloom, cantaloupe or something. I don't know. That's hit. It has these ridges in and we don't want to look like that. So again, I'm going to leave some of these really light, and I'm going to bring some of these a little darker. To get, just to get a little bit more variation to what's happening here. As far as that goes. Now, we have two things going on in the bottle. We have that this is the label, so that's not transparent. But we have down here, this is where we clears the label and that's transparent. So we'd see some list coming through here. Now because it's glass or be some distortion. We're not gonna, we're not gonna talk about that today really at all. There's going to be a time where I'm where I talk about rendering and stuff like that, where we start talking about surfaces and different types of surfaces and reflectiveness versus translucency and how to create those illusions. But for right now we're not going to really worry about it too much. So again, these are going to again start to come over and then they really start to overlap as they go around the back. Again. If all of them on the ridge line or the same darkness, it's going to again be just too much. So we're going to, we're going to lighten some of these up. Now. All them will seize, leave some a little darker, some little lighter. But we just end the same thing here. Some of these lines will even, we'll even take them out so they become so soft. You know, it's like the eye bridges the gap. So and this is just a thing to, to, again make it a little bit more varied. You can also go darker as it comes here, getting lighter as it comes around. Because if you're trying to sculpt it with light, as this stuff goes into shadow, it would be darker. Stuff comes into the light. I would get blown out in terms of the detail. So you could certainly do things like that to try to give it the illusion of depth and that light is affecting it, even though we're dealing with, you know, just contour lines. We want to be able to have some of that. And so maybe over here again, we'll see, we'll start to blow out quite a bit too, again to make it feel like the lightest, just really starting to blow that out. And then as it comes around, will start get, it'll start to, the value will go across there a little bit. And as it keeps coming the, it'll start to again hold grabs, hold its shape all the way through there. And you could get darker as it comes around going into shadow. So as far as Zach oh, so we just want to get something that gives us a feeling of again, this sum, this fiber that they use to weave on this key onto bottle, that makes them so interesting. That's what makes those things really quite fascinating. I didn't get into it. But if you look, if you look at the string, it's starting, start to almost be able to see some of the overlaps of the twine. Fibers meant that's made, the Twine is made from, again, you don't want to be too dark or we'll start to look like. You know, again, it just has too much information or a circle look splotchy. Well, look like individual hairs were not trying to individual fibers or anything like that. That's just too much detail for this drawing. We just want to indicate enough to go oh, okay. Yeah, that's that's some sort of whirlwind something or other. So again, we could go ahead and put just a little bit of information on there to make you oh, yeah, that's kinda woven twine or something. Again, we could put the lettering on there if we so chose. We could continue to well, that's right. This would be on there. You just continue to and that should be rounded a little bit more. Bring this around. Again as this comes over, we can start to make the the widths a little wider as it comes out. Because again, they get shorter as they go back. They get wider as they come forward. So again, we can go ahead and and I think I probably should do this a little bit better through here. They seem to be all the same width. It looks a little better here in terms of where they are actually getting wider as they come out, which is what we want, we want it to. It creates a better illusion that if something's going around a circle and the reason they're wider as they're closer to us, as they go around, they get further from us. That's a basic idea of perspective that we talk, that we're gonna talk about in the next lesson, for the next class. For those that are, you know, have taken us, you know, like, oh, I like what I'm learning and it looks it seems pretty cool and I think it will help. Will then, yeah, you can go ahead and, you know, again in the next class will have, you know, some of this, you know, we'll talk about perspective and just keep building on the concepts where we've talked about here. And just keep going with it. Again, that's a little too much the same. We're going to blow some of these out a little bit. We're going to lighten up a little bit. Just give us some variation. Just a little bit enough slowed. It doesn't look like it's just, you know, again, some sort of stripes painted on there. We don't want that that would be that would not be a good thing. As far as echoes. So we could go ahead and again, lighten that up these down here that are going in, going around it and shadow perhaps. We could also go ahead and start to again darken these, you know, as they're, as they're going around. And, you know, we don't want the same everywhere. So again, we're going to sum these and we left lighter. Some of them are, can be left a little darker. Same thing up here. A little bit lighter, a little bit darker. So our zygote, we can just go ahead and, you know, again, maybe this is getting easier a little bit closer, you know, as it goes around. But anyway, so you've got something that's going to look a little bit about like the, the key onto bottle. I think you can still go in here, maybe lighten some of these up because we just need enough to indicate what's going on and we're not trying to, you know, we're not trying to. Like when you see portraits and people tried to draw every little strand of hair. It doesn't look like here. It looks like a yellow pad. If we try to do every little band inherent, if we're not careful, they won't look right at all. Now there's actually a highlight running along. 10. Still Life Drawing Part 4: We're not careful. It won't look right at all. Now there's actually a highlight running along here. Along that edge. I've got it as a dark edge where it actually is V is blown out because it's, it's light. And so this is when you were thinking a little bit about form. Now again, we're going to talk more about form and some other classes and shading and values and things. That's the third class where it go in depth about the laws of creating something to fill three-dimensional. So you, we would do a contour drawing and then fill it with value and so forth and so on. So that's what we'll be doing in some of those classes. In the third class. Again, let's explore value and how to, how to also in show perspective and depth. And so all these things culminate. They all come together to make a much more powerful drawings. And if you, if you don't use it, you know, again, it's, your drawing will suffer. But if you do use it, your drawing will only get better. So where's the downside as far as that goes and so on. That's what we want to, we want to use this stuff and our and our drawings to help us out. Make us better, make the drawing better. K. So again, I think what we're pretty much gone. We've gone as far as I'm going to I'm not gonna make you guys watch. We try to put letters on there. Not even letters. Like sometimes people get a little bit wise. So there's lettering, they start trying to write every word. So maybe I will do one of this on one of these labels as quickly as I can. So let's say we're doing this one. I'm gonna take, I'm gonna take my focus and try to see just the shape of the little logo here. And instead of trying to detail every little thing within the logo, we're gonna go ahead and try to get just the basic shape, enough force to go. Okay, that's a logo or something. So again, we're just going to look at some of the basic shapes that we've got out here. For this, for this logo. And so that's what we've got right here, is this. Because I thought it was something else is actually a ship. So we'll go ahead and Yara. Well, there's a little shift through here, right? We can go ahead and, you know, there's also would have to drop this down. We'll just we'll just act like i did. So I'm gonna stop it there instead. But there's like a border that runs through there that's in gold leaf. There's also, you know, again, there's this writing that sort of, and again, we could just, we could look for some of the basic. So we will call a cuny forms, which means you're just basically looking for things that indicate certain shape. You're not looking for the actual shapes. You know. Now if I had to do an illustration, we're actually had to show exact, you know, riding on there. Well, that's something else we would do, something entirely different. But if I was doing a drawing many times, I just want to indicate enough information. So it looks like, you know, that that particular and I couldn't I couldn't make this a little cleaner. I know this is a little scratchy, but instead of the floor, there's a flourish on there and there's a little sort of a thing on there. And this is sort of round ask. And this kinda comes down and there's another letter there. And then next to that there's another layer that comes down which is probably a G or something, you know, but I'm not trying to letter exact letters. I'm just trying to get shapes that little bit as a little sort of square box a letter and then another square boxy letter. And then on the end there is something that comes up. So it's probably a D or something. But again, I'm just looking for basic shapes that look similar to what's actually on there. This I've done a better job than this. This is, this is a little crazy, but then we got a little better. But we could go ahead host kind like signing my name on there and that's KM and, but that's not what's going on there. That again, we have these blocky letters. They're almost squares and then suddenly looks like a G. And so I can go ahead and if I get little blocks and little using triangles and blocks and circles, I can create something that looks like it's lettering went and actually it's not, it's just what we call an indication. And again, instead of trying to detail everything about this ship, I'm just gonna put the, the biggest, the biggest shapes that I see on there as far as that goes. And so trying to detail the mass and which which sale is what and and you know, there is is there an anchor hanging on the side of it? I don't care. You know, I'm just gonna go ahead and try to indicate a little bit of that shape. And then we have some smaller, so smaller stuff over here. So it's, you know, again it's, it's really little m blocky. And then there's some other blocky little stuff here. Sometime, may times went when people actually think there's something that's photo-realistic, like lettering. There'll be surprises. I'll go up to read it. And they'll find this blocky stuff and they're like, wait what S because they aren't trying to again doing it, doing illustration where they have to put the exact Company and the manufacturer and the date and all that has to be they just needed enough. So from a distance you go, Wow, that looks sort of like these little symbols that look like. They could be letters that are sort of on a label. Alright? And then there's the real little stuff down here that you can almost make, you know, again, just a little checks and dots or some like that, almost like it's Morse code for this, you know, again, the lettering down here. That's so small, you can't even tell that it's lettering. It's not curving enough though it does have to, you know, it would have to have those ellipses WHO would have to curve around and check that on these. But I would have put elliptical arc through there so that this would conform to the label instead of contradict the label and all that sort of stuff. But so again, that's a way of creating something that's, you know, not executives and so detail that you can read it but from distances people would be like, Yeah, I remember I had a friend that did like some, some paintings of newspapers and some official of newspapers. And it was an impressionistic painting and people would across the room see it. And then try to come over and read it. And they found out that these blocks of what they thought were texts were really just chunks of graze. There were no letters on there. There were like little checks and smaller checks and then, you know, it was almost like Morse code, you know, or a line in a break, break line, break, break line. So it was just a big stroke of a brush with a couple of smaller, lighter gray strokes and there again to give you a blocky sort of look. And that's what we're doing over here with the with the with the county bottle. So again, I could lighten this side of it again just to make it and keep this little darker. So make it look like this is on the left side, you know, so we can do all kinds of little, little things like that to help us. Again, maybe some of this is just a little too. You know, it's kinda overpowering. It's becoming so repetitive and so distracting that we're losing the rest of the drawing. So in which case we just knock it back. We'd lighten it so that it starts to fade enough. If I actually look at a bottle, I can't see individual edges. They start to break and they start to merge and they start to, you know. And so it is very much like, you know, where it starts to fade in what's called lost and found line, where the line is there and then it's gone and it's there and then it's gone. And that's actually what starts to happen on the actual odd because the lines begin to become lost. And then, then, then there, there and then they're lost again. And though there and, and, and that can be wear becomes very, very powerful as opposed to super repetitive. And not only distracting with boring, but it can become like wallpaper if you're not careful where people get so excited about it. But if these lines, lines are very, very powerful, Arthur used improperly, they're there, they're highly distracting and they'll destroy your drawing if you're not careful. So again, that's why I'm coming over here. Like this is still way too too much. If I look at that stuff, the, the edges, the lines between the Stuff is, is, is, is very much Lost and Found. It's, it's there, that it's not, it's there and then it's not. And so I'm trying to do some of the same sort of stuff and the drawing so that it has a similar feel. So it just doesn't look like, you know, painted stripes on a bottle. And right now it's still looking a little like it's painted stripes on a ball on way too many places. But it's getting there. It's starting to get sort of a a nice feeling to it. It's starting to actually feel like there's, you know, there's some lighter and darker and some of its being suggested and other others of it are, are, are firm and others are light. And that's a little nicer. So again, that's, that's what we wanna do. Again, it's kinda like this. We're just, we're, we're kinda suggesting, but we're not saying it. You know, this is a line but it's, it's, it's, it's dissolving, it's not really aligned. There is another line that's a little harder next to him. There's another line that might say a little bit more. But again, they just can't be too dark. They can't upstage the outside contour lines and all that sort of stuff. We want to be very, very, very careful about that. So as we're, as we're working on this, we want to be keeping in, you know, in our mind the fact that, you know, we're going to want to be very, very careful as we are working on this to make sure that we have something that's going to look like it indicates detail, but it's not exact detail. You know, because if you're not careful, you can this will just start to take over. And that's not what you want. It's not just about this little, I think it's batting is and what they call that stuff. But anyways, it's not just about this fiber is much more important stuff to look at. And if I'm not careful, it'll start to be all about the fiber. There's also something similar again, if we're talking about how we can kinda puts stuff on here and indicated but yet not indicated. There's there's like a silver trim around here that we could, you know, go ahead and start to try to put on that silver little trim going around here. Where you do some of that. We'd go ahead. There's like this little, this little this is, you know, it looks like it has lots of little flowers on this, that kind of little bunches of flowers. And I could go ahead and very quickly put something on here again. That's not exactly what's there, but it has sort of the same similar shape and similar sort of feel to it. And so it's, you know, instead of trying to draw every little flower on there, I'm drawing little, little look like flower buds are actually just little circles what they are. And I'm overlapping them with other little circles and so on, you know, are a little while longer so and we're a little shorter. And all of a sudden it starts to feel like maybe there is a flower there. And again, there's some edging here that we could put on. That's a silver and there's a double band of silver here. You know, we start dressing this thing up. We can start making it look really, really, really nice. So just because it's a contour drawing doesn't mean it has to be boring. Just go, you know, it doesn't have to be simple to the point that we don't care. It can still be fun, it can still be exciting. You can still have power. And, and that's what we want. And again, it doesn't have to, you know, with this again, we get a parts that we keep darker and parts we keep softer and so forth and so on. So if you, if you're withdrawing along with me. Once you once you stop the video and try to try to put some, some information in there on your stuff and see if you can start to create the illusion of detail. With these little marks. Again, these are just little letter marks and darker marks are basically little semicircle of different varying lengths and heights. And to give a feeling of organic stuff, you know, this is again just these blocks and I'll really individual letters are just blocks. Again, this right here. And again, I could, I could clean it up. This is pretty clunky, but I can go ahead and really look at this same tried to design it. Like I think this attribute, if it comes out here a little bit, this'll edge here I think is this comes over and comes down and then cut so you can go ahead and refine it. You know, you can go ahead and start to and we can even start to go, well, maybe we're going to have some Lost and Found stuff going on here. And maybe there's some indications of the sea. I can't, you know, I'd have to actually grab the ball and take a closer look at it. I actually have pretty poor bit, but like could you go ahead and go out when I went to stop the video and I'll walk up there and we'll see what what actually is going on up there. Or I can say, well, it doesn't matter to me, I just want something that indicates it. And I went to more subdued. Someone's like, well, it's it's enough for me that it's that dark and it doesn't matter as much. You know, it's, it's really about, you know, how far you want to take this. If I was gonna do something like Moshe, the artist, Moshe MU CHA. Moshe was a very famous design artists and he would, he would give it here and Design and he would, you know, so all the letters would be done properly, everything would be beautifully done. That's much different if you're ever given, he was kind of like an illustrator is doing posters for, you know, plays and things like that. And, and these different sorts of stuff where they actually wanted to see what's going on. But he's still design it very beautifully, but it was very, very clean and clear. This is much more suggested, meaning it's not super clear, it's just enough for you to go, Well, there's a Shape and that certainly, you know, and that's, that's how the Impressionists would paint the Differently impresses like say Zan didn't even care. I'm trying to think if he ever anything with with this much sort of level of detail, I don't think he did try to think of anyone who did still lifes. It had like a little bit more or innateness like this going on. And besides Mary America sought, She's about to, I want, I can think of in terms of the larger post-impressionist. And she would have done stuff like this where it's just enough to say, hey, there's something there, but not enough where you're nailing it. Where the, the moshe And you've CHA, great artist. He would actually go in there and make sure everything was designed, everything can be read, everything was beautifully done, you know, and he would spend like if he had to, it's been 50 hours on this thing, you know, first for the drawing and then with penalty can cleaning it all up. And just so it's just absolutely stunning. And for us we're not, we're not going to go to that level. We're just want to start getting used to putting in stuff that looks like it could be stuff. And so that's just a real quick. To show you kind of how you could do stuff like that. So again, I'm gonna go ahead and stop the video for now and try to try to do some of this on your own drawing. And I will come back. So we're gonna go ahead, we're back. Give you a few minutes. Or however long complaint with the ideas of getting the the details in there. Now we're actually going to do, now we're going to do the, we're going to draw the martyr R3 glass. Now when I, when I drew them are already glass, but I don't think I measured a, but suppose I measure, I won't measure all the way to the back. And I think that's one of those times because it seems like this is a little too stumpy. For the martyr 3D loss. Really does home would take an apple height remeasure. Let's say that's one. That's 2.5. That's that they're less than one. That's 2.5. Now, this is one of those times where I say, you know, it went out, believe your eyes. I'm gonna go ahead and go with what I think. So I'm gonna go ahead and measure this to that this is going to be the major minor axis. And that's why I'm thinking I think that the back of the margarita where opens from the mouth should be low further over. The biggest thing with smart, relaxed and some people find this a really hard thing to draw. But if we use construction, it can be much easier. So the first thing is that this, this upper part of the smarter 3D glasses really just if we simplified it a rectangle. Alright? And then if we took this rectangle, and we've got that second chamber of the martyr of the margarita that comes down and it's a square. Well, let's just make sure that we're that's not bad. Probably going to have to double-check that coming down. But anyways, there's another square for that second chamber of the margarita glass. Now I'm looking at that and that looks a little thin. I also need this between here and there. That needs to be about what the halfway point is, I recall. So I'm gonna go ahead and measure this. This is the halfway point. And again, this is just above there. So and that's also, there's a little bit of a Trapezoid, where the smarter 3D last. So I guess if we went ahead and is the main diagonals, we're going to end up with a square. Stacked on top of a rectangle, are underneath a rectangle, rectangle square, and then drop enjoyed. This would then be again the trapezoid as far as that goes. And then we've got the the stem, another stem is just a rectangle. And the stem should be married at this, but we're going to go ahead and just bring nope, we're gonna change it. What we're going to go ahead and flares out a little bit. So there's again a little bit of a triangle at the top. Like so. So we've got a triangle. There, you've got the rectangle. Okay? And this is going to come down and it's going to, it's going to hit the foot. This is the foot. Now before we get too far into this foot, this actually this foot has, well, it's going to have an ellipse, but it's also got a dome on top of that ellipse. And this is like right here is the back the ellipse, but so the dome has to go above it. So you've got some of the fact that there's a dome happening, but then we also have that the glass is a liquid. It's a slow moving liquid, but it's a liquid. That's why they've got like panes of glass from the 13th century that I think is the oldest ones they found. And there razor thin at the top and they've pooled at the bottom. Because it's, it is actually a liquid. It takes a very long time to, to move. But it's a liquid nonetheless. Pretty, pretty wild stuff. So but it's always strange because, you know, over my lifetime glass isn't going to change all that much, but over 30 generations will then yes, it's changes pretty wild. Okay, so again, we've got the little triangle here as it flares out, little triangle here as it flares out. And so again, so we've got this, this is our, this right here is our main rectangle, where flares open. And then we have the smaller one and then we have the, now again, this is a, you know, it's a, it's like it's like the skeletal structure for our, you know, our body. This is just going to, this is gonna round under and then this is going to round down. And this is going to round out. So sometimes when I do that I feel like Where's the margarita glass? And I go in here while I go, okay. Yeah, well, we're gonna go ahead and round this there. And then this rounds down onto there. Right? And then this comes down here and then this flares out there. And they're like, oh, okay, yeah, I'm starting to see the margarita glass. I get it. And then we're going to have a double ellipse at the bottom of the base of this. There is, of course going to be ellipse here where again we go ahead and put a c curve. We go ahead and put another c curve. We put like an arc there, an arc here. And we just start, whoops. You know, I can go ahead and put my ellipse in there. So what I'm going to do, and again, this is where this comes in here. That rounds under and then went from where this rounds under that we have, you know, a little bit of this opening up for the glass there and so forth and so on. I think this needs to come out just a little bit more. But I'm gonna go ahead and we're gonna do one last thing that we got the pair here. The parent is a center line, but remember it's, it's, it's organic. So the pair is going to lean and an angle. And I could even take that and find out where liens from. And it leaves just it starts here and then the liens this directions. So I could actually take my my rectangle. And I'll go ahead and check that rectangle to see where it goes from here to about there. This is the, this is the axis line right there. Ok. And then from that axis line, we can develop the pairs of the pair liens. And so you'd say, okay, well, the pair is basically a sphere. That's right. This is the outside of the pair. So I needed to make sure. 11. Power of Line Conclusion to class: All right, welcome back. So we're now at the conclusion of the class. And during the class we have learned concepts of how to draw 2D and 3D shapes, how to straighten our lines. We've talked about using center lines to make things more symmetrical. We've talked about proportional measuring, how to do it, and how it helps us to draw. And then we've talked about construction drawing. And how construction drawing it helps us to draw things in a much better way. So what now? So hopefully during the class you've been doing some exercises, you've been trying to concepts. And you, you've drawn the two different sill. I'm choosing the proportional measuring and then using the construction method. Now what you're gonna do is keep using it. Get out there and draw, grab whatever you can, whatever you like, put it on the table, get out your sketchbook and draw using the concepts. That's how you improve. I will make you a promise that if you practice three times a week, just three times a week during those 10 minute exercises to 15 minute exercises of drawing the lines and the cubes and the, you know, whatever cones and triangles and cylinders and all that stuff. If you do that three times a week, keep a sketchbook. And again, make it that newsprint or you're not, you know, it's very inexpensive. But if you keep that for six months, you'll be amazed at how much better you can control your lines and draw better. The other thing you have to do something else too. You can't just draw that three times a week and think that you're done. You're going to want to go ahead and draw for another two hours. You want to give yourself time at least once a week. If you do it twice a week, It's better three times a week, you'll be astounded in six months. But set aside time. Drawing will just like learn to play the piano, learned to play the guitar. We're gonna do anything dancing, crocheting wooded area where it is you do water skiing, snow skiing, snowboarding out whatever. It takes time. But hopefully that's why you're doing it because it's fun. But if you'll take the time to actually again, make little products for yourself, say Hey, I always like to draw this or why I wanted to try to draw that. Were right now is springtime apart me actually, it's summer. What a great time to draw flowers, what a great time to draw some trees. And her thanks. Go out with a sketch book and draw, draw, draw. If you will keep a sketchbook and track your progress using the concepts that we've talked about. You will revolutionize your drawing and you'll even surprise yourself. I'm going to have other classes that build on this class. This is a very foundational fundamental class. The next class we're gonna do is we're gonna talk about value and how do we get things that feeling of form and make things really have that illusion of sitting in space. So look for those upcoming videos. We're gonna do more of this stuff to, again, to get you to ratchet up and challenge you to get your Level Up to make you better and to help you meet your art goals. I hope that you guys will stay creative. You guys have yourselves a great day. Thank you again for taking my course. Bye bye. Now.