Original subtitles

Now that we've learned these kind of core forms.

Let's do a demo where we're going to draw the front and back of a male form, and the front and back of

a female, the entire body, all in one go, just using the big major forms.

We're going to put in crazy hand details, or anything like that.

We're just going to get the basic feeling using those forms.

So I'm going to start off here with the guy, and just draw in the basic head form.

Nothing too crazy, nothing too hectic.

Draw in his chest, kind of imagining the proportions as well, so that we can make sure he's relatively

proportionately correct.

So I kind of draw the heads over sometimes to measure, and our bucket shape, sort of cup shape, should I say,

teacup shape for the legs, draw in the cylinders for his arms.

You can see I am very loose with how I draw these, just checking that that elbow touches the bottom of the rib cage

a good measuring system for the portions there, put that one in.

And also remembering that we really don't need to draw in little circle joints.

If you really want to, you can, but you really don't need to, and when you have a more developed anatomical knowledge

you really just draw the anatomy on top of these forms, you don't really need this indication of joint

to know that the joint is there.

So just to make them a little bit smaller we can fill his full body on, going to draw in his legs and something

I can say as well that will be quite helpful for you is, while you're drawing try to keep the proportions

right while you're drawing.

But if you mess up, don't worry about it, just erase it or just use an adjustment on it and get it to

the proportions that feel right to you or at least that or the proportions that you want, or based on

the idealistic proportions, which will make sure things look right.

OK.

So here I can check and just wanted to press hard, do it one stroke; one, two, three, four.

We're relatively right there.

One, two, three, and four, and we're relatively right there, and his proportions are OK.

Proportions are OK.

His shoulder width, just checking that, and just roughing it in a little bit more, drawing through to feel

those forms.

And speaking of drawing through, you might find that after a while you get very used to the idea of the

forms, that you may not draw through everything, you'll kind of do it more in a short hand sense, and really

just have center lines down things to help you kind of figure out and understand where the middle of objects

are, and where the middle of the forms are.

Just connect his neck more there, with that sphere and we'll draw through there, where it connects to the base

of his head.

All right.

And for the hands, for the time being, we're just going to put circles there just to indicate them and then

going to draw a back view of this same character, just imagining those forms and perhaps his neck is

plugging in over here, using the cylinder for that,

kind of tilting his chest a little bit, imagining the back of his torso.

And because the front view is right here, the back view,

it's going to be easy for me to really just, kind of, copy across most of the measurements, so that my

proportions are roughly the same.

You can see I'm very loose and it really is just structural.

Very very structural drawings, get the structure to read relatively fine.

This doesn't have to look nice or neat or pretty or anything like that

when you're doing these forms. And you can as well see the opposing curves constantly at work in the

form, getting a very believable looking human form quite easily.

Not much effort, just bending those forms,

and keeping them nice and dynamic.

And usually one side of the cylinder is bigger than the other.

And in terms of the elliptical sections, so it gives us that directionality in the forms.

And using our understanding of opposing curves, to just oppose, just make the legs oppose one another.

Cylinders and we'll then draw the back of these triangles, in this instance, it's triangular form, so they're

shorter at the back longer at the front.

And there we have just a very basic, very rough, form sketch of the male.

Let's do a female version.

And just before we leave the male version, let's label this as male.

Just before we leave the male version, let's not forget that kind of, key rule, of having broad shoulders, and

narrower hips on the male, right, broad shoulders and narrower hips on males, and then we want to have shorter

shoulders and wider hips on females, right, wider at the hips.

Let's now do just the rough version of the forms of the female and we'll start very much the same

way.

Start with the male forms, get a cranium shape in there, attach our jaws shape to that, keep it rough, keep

it loose.

Going to put the chest in here before the neck.

And we want to remember, really, that we want to keep the shoulders narrower on the female, and the hips

broader.

Just as a general rule for getting that very feminine look in, and our cup shape for the pelvis, having

center lines down things to help us understand center, can draw through as well to help us just feel out

that mass and then give her broader hips here, and we get her hips to come out more broadly than the

males.

And really it's just these very simple forms , with dynamism applied to them, that lets us it gets to that

level of believability when we start adding the details onto the forms.

And you're just drawing in those basic, basic building blocks for the feet.

Just imagining the forms, drawing through the forms, imagining and feeling them out, like "What is the full

3D form of this particular object".

And we can add in the arms,

and just keep the hands very simple as well, and feel free to really experiment as well,

in terms of how the curves are happening on these dynamic cylinders. You can really just, it doesn't always

have to oppose in this particular way, you can change the direction of the opposing.

Let's just find that little crick in her neck where we can feel out the form of the breasts, and apply our form

theory there.

It's kind of soft malleable masses that flatten at the bottom, kind of using it, kind of just lightly

using that Heart-Shaped idea to get them to read well.

And I'm checking the proportions of the nipple line there, and I think that's OK for the forms there.

And then we can do the back view.

And really, it's the same structures here we will see the neck more because of the angle,

and just drawing those forms, and using a very rough, just a shorthand way, to get these forms down.

But it's exactly the same thing really, all the same theory.

The pelvis and plugging in the arms.

You can see I also do this very quickly and really, speed comes with time to practice, but I would always

I would always, always encourage you, to just try and draw fast as much as you can, and especially with

construction.

There's no need to draw slowly.

Your hand is really just making marks.

I mean there's not much to putting the pen down and swirling it around a little bit.

So just in terms of construction, let the theory guide you.

And just be quick, be quick about it.

And build, build build the construction that you need and be messy and be loose because you know construction

sites are messy, and people building great things, it's usually a messy process, it's not usually this pristinely

perfect, Step-By-Step, wonderful thing.

It's, you know, construction sites are messy. Making a cake is messy, and doing art is messy right.

Cooking good meals is generally quite messy, you don't do it in a neat way.

Let me just putt in these basic shapes there, maybe not exactly the same angles, but relatively the same,

her shoulders here a little bit broad, so I'm going to bring that form in.

Just make the shoulders a little less broad.

Keep the hips kind of wide and the proportions are a little bit different.

The scaling of the head is just a little bit different.

So it's not the end of the world, it's relatively the same, it's relatively OK.

All right.

And this will be our basic, very basic female forms, and we're stacking and building them together.

Let's go back to the male form now.

And let's actually just put those labels in there as well.

You want the front and the back. Go back to our male form.

And what I'm going to do is, I'm just going to take my eraser and just lightly erase the base forms here, so

that I can draw over it. Just do quick, kind of, skin surface layer over it, and just kind of use the forms

underneath to guide, add an ear there,

just for a little bit more appeal, Using the underlying forms to kind of guide where I put these lines,

And I'm not doing majorly complex anatomy here, I'm just really being guided by those forms, just doing

single lines, not too sketchy.

Kind of let the skin go in a little bit here at the chest, just put in some lines there.

I know that there is a bump for the knees, so I'm going to add that in, draw in the crotch section here.

Keep it simple.

Just being guided by the forms.

I don't even connect every line necessarily,

and using my knowledge of how the opposing curves work at the feet,

just to guide me in doing the skin surface layer here,

and the hands

we won't worry about too much, just kind of indicate them a little bit, and we'll do this back view, the

face kind of comes out the front.

Something like that

And just really, in many ways, just kind of tracing what we see.

And even with a very elementary knowledge of anatomy, you can get a pretty effective looking skin surface

layer.

Just by following the forms, right.

Just get these elementary, kind of, hand indications in. And I just want to take this line a bit in.

I just feel like it's a little bit too overlapping that line of the arm, draw this in,

following the forms, following the forms, and connecting all the surface layers to each other. I don't suppose we

see much of the knee from that angle,

and then following the forms there.

Back of the foot here as well.

And I know that perhaps this may seem somewhat overly basic, but these are the basics we need to grasp

very firmly, before we start getting into complex and very detailed elements.

I assume the buttocks are going to fall something like that on his form, we'll just keep it very simple for now and just use

kind of a "V", shape upside down, kind of, "V" shape for that, and indicate those elements.

And let's just do the top of his head as well.

Right, very very basic, keeping things simple. Let's go on to the female.

Once again I'll erase her as well, just to, so that my skin lines kind of show, show more, and stand out

more.

And once again it's really, it's really very much the same thing.

Kind of going to go over those basic forms that we put in, and connect all the elements together.

Just being guided in a very rough way by our forms.

So while I'm doing this we can talk a little bit about advanced anatomical study.

At the end of the course, at the end of module three mind you, there is a video discussing how to study

anatomy in a more advanced way.

So that of course I'd definitely recommend that you watch that. Anatomy is something that is going to take

a long time to learn, but it shouldn't be something that stops you from continuing through the course,

because when you have the basic anatomy, you can start drawing great characters and always constantly learning

anatomy will help you improve the realism of the anatomical forms themselves.

But not all styles call for hyper realistic anatomy, which is great especially if you are into doing

more stylized work. Whilst knowing advanced anatomy is definitely always an advantage.

A lot of the stylization, while built on the fundamental anatomy, doesn't really call for you to draw in every

micro detail of every muscle.

So here we are doing the back view, drawing in those neck forms.

And these look very clunky and basic, but that's really the point, that really is the point, we want to

just keep things simple, maybe I'll even indicate her breasts a little bit.

there. This breast size here, they're not exactly the same.

Let me just fix the sizing up.

Draw a line, a planning line here, for the volumes, and then have them be at roughly the same,

roughly the same height as each other.

Just rough it in there.

And carrying on with this,

following the forms, doing a very basic skin layer version, nothing too informed, really, by anatomy,

By advanced anatomy, just kind of keeping things simple, getting the feeling of doing this, right.

Just following those forms, and this isn't about good looking work.

And I've said that, probably said that already.

But just get the hang of it, get the hang of this very basic thing, we can refine pieces and bring things

up to a professional level at different stages.

For now we just want to get this kind of, idea, of like, let's build forms and then put stuff on top of the

forms.

These are very, very elementary drawings. Very, very elementary drawings. But these are the basics we need

to go through. And I really have tried to make sure that you don't feel throughout the course that, you

know, even the examples are unachievable.

I feel like you should be achieving something at this sort of level, at this sort of look, at this stage

in the course.

And so there we have in a nutshell, just using those forms that we've learned, and putting the skin layer

on top of them, and just getting something that looks solid, right, no crazy overlaps are being done yet.

No crazy detailing is being done, it's just basic, basic, basics.

All right.

I hope that this demo was informative, and will help you when you're doing your exercises.

Let's move on to the next lesson.