All language subtitles for 2. Simple Shapes and Forms

Hey, everyone, in this video, I'm going to be teaching you guys about simple shapes and values,

so let's get started first, really simply go ahead and zoom out so I can go ahead and draw with clarity.

So as I always get a bit confused on exactly how far I'm zoomed in, so it was started with simple shapes.

So these are the simple these are the kind of shapes that you'll see most often when it comes to figure

drawings or just drawing in general, which is circle squares and triangles.

And it's not as complicated as you think.

It's just more what's more like it's not as simple as you think.

It's actually a little bit more complicated, but in a good way.

So when it comes to circles, a lot of people want to go to these certain shape languages.

They have a lot of artists have a tendency to kind of categorize just one category when in reality it's

actually a lot more than that.

So let's go let's start with circles first.

Of course, this is not going to be entirely going to be filling, you know, it's not going to be totally

lined up.

I'll do my best.

So when it comes to circles, circles are generally more geared towards cutesie, you know, more fun,

more friendly, so you can kind of grouped them together.

This is how you can use circles.

You can use them to group together, or most commonly used in figure drawing is half circles.

So that usually gives a more rounder feeling.

So especially when you draw more heavier people, you'll use circles more often.

So what I mean by half circles is sort of something like this that you see a lot and like figure drawing

books can also kind of just, you know, kind of draw your lines more around or, you know, make things

more just kind of rounded up, you know, so kind of more rounded forms.

So these are more just how you how you would use the circle for triangles.

This is more of an active form or sorry, I'm going to go with squares first because it's in the order.

So when it comes to squares that's want stability, most of the time it's more stability or overlaps.

So, for instance, if you want to make like a bulky character, what you want to do is you want to

make sure that, you know, your your character looks more squarish, although not literally a square,

but just more squares.

But it's also really good with overlaps.

So what people do is you have one layer over the other.

That's what it's really good for when it comes to squares, so these are more simplified way of how

to kind of construct your figure, you can even use this for simple shapes.

You know, for instance, if I want to draw an arm, you know, here's the here's the upper arm and

here's the forearm.

Very, very simple, very easy.

Just kind of use them as like dimensional tools.

And then lastly, we have our triangles, which I'm going to slide over a bit here, and that is more

towards action.

So a lot of the misconception with triangles is that sorry that it means evil or mean something bad

or mean something dangerous.

Not necessarily.

It just means more like action.

So, for instance, if you see, like a good character with more triangular forms, it doesn't necessarily

mean they're bad.

It just means they're more dynamic in their design.

So what you can do to show action is, you know, kind of just drawing some triangles here and there.

And that already automatically just kind of shows like some dynamic contrast and action.

You can overlap them, you know, kind of create some spikes here and there can kind of overlap them

once again.

But most of the time, you know, it can be Krystal's, you know, for example, if you want to draw

some crystals, you can group these triangular forms together and nobody would bat an eye.

They'd be like, oh, yeah, that's kind of like a crystal, right?

Kind of like a shot plant.

Right.

You know, Alvera or those kind of plants in general are very, very sharp with the kind of rounded

edge can grouped these together, you know, for instance.

And that's how you would usually use these shapes when it comes to drawing.

So and another thing, when it comes to squares and a bit, which I'll go into volumes are boxes and

I will get to that right now.

So.

Oh, by the way.

Circle stands or passive is P, that's four circles, stability and structure is squares, and then

action is triangles.

OK, so PSA anyways, public speaking announcement.

I don't know what that means.

So anyway, now let's go up to volumes.

The volumes are going to be a little bit more fun.

This is more like a this is just more of like a 3D version of these forms.

So what kind of look, I guess I'll ask just to kind of get some just to get some seeming interaction,

seemingly kind of fun interaction.

What kind of figures or what kind of volumes would you kind of see when it comes to triangles?

You would automatically think triangular prisms and cylinders that's on all cylinders, cones.

I'm sorry about that.

And they're very easy.

So let's just let's do a cone first.

When it comes to a cone, all we have to do is just draw and ellipse.

One and then two.

That's it, you know what I can do to your code, really?

So that is a code.

Now, when it comes to a triangular prism, there's two kinds.

There's one that is more like, you know, you draw kind of like a square in a more of a diagonal feel.

And then you bring these two up into a point.

That's a triangular prism or maybe a pyramid.

Sorry about that.

This is a pyramid and then triangular prism, which is more like a flat triangle to a side.

And they kind of end this way.

That's triangular prism.

Now, when it comes to a circle, most of the time we would view this as a cylinder and all we really

have to do is a strong ellipse, which is a circle in perspective.

It's not necessarily an oval that there's a more simple way to put it than we have our ellipse right

at the top.

Then we have the sphere, which usually we have to fight, we have to usually kind of do it when we

or show it when we shade it.

So I think I'll just shade it for now.

Here is our course shadow, which is our main shadow, and here is our kind of darker shadow and cover

bounce light.

So I'm just going to do that real quick.

And then we have a box.

For at the square.

Now, box is actually really easy, you guys don't really have to do perspective good for this in the

end, this is just more of a abstract feel to it, you know, perspective.

And that Deepwater Horizon line, it's just usually the abstract version or just kind of like the more

it's kind of it's more like, oh, well, this is how it's actually done in space, you know?

And usually that that would be very useful.

So how do I drop box without a grid then?

Well, that's really easy.

All you have to think is where is your box facing?

If it's facing in front of us, you will see the main square kind of leaning towards us more.

It's a line there anyways.

Then you kind of think about where it's going to go this way.

What is so then what we do is we kind of just push these towards the vanishing point.

So fanning, fanning, because it's kind of going it's kind of showing like a little fan, you know,

fanning compared to this fanning fanning street fanning.

It's now a Western will probably go more like Fanny Street straight, which I think I'll try that right

now.

So I would say more like let's say, for instance, if we're going to do one point perspective, let

me do this one down here.

That's more like fanning, fanning.

This is more towards us.

Straight, straight.

Straight, straight, straight, they have a box automatically.

Now, there's definitely a lot more complicated ways to do this, but for now, let's just do like this.

So let's see, fanning, fanning, straight, straight.

Or more like fanning, fanning this way.

Anyways, straight, straight, straight, fanning, straight or fanning, whichever it is, as you

go straight, when you're going straight down most of the time, especially if it's just a two point

perspective feel.

But when you're kind of going in convergence, you would usually go fanning, fanning, fanning, fanning

straight, you know, stuff like that.

And it was that's just really hydraulic box and not for or in that in that very simplified way.

Then I'm going to talk to you guys just really, really briefly about squash and squash and stretch

or simple and complex, and this is just more of a side note, but it's really, really helpful when

it comes to doing form exercises.

So what do I mean by that?

So when you look at the waist, for example, let's say I'm going to draw a little I'm going to drop

box here, two boxes.

Let's say this is your ribcage.

And this is your pelvis.

If your pelvis is bending this way or like you're just in general, like you're kind of going this way

more, you want to see a bit of squishier.

And what that simply is, it's just you have simple and I have complex.

Then you kind of complete the complete the form.

You can do that in multiple ways.

You can even take a box and do that.

So complex, simple.

Could even use this as a pillow or bean.

Stewart being one.

They're very simple, that's simple and complex, basically, in a nutshell, it's basically squash

and stretch.

There's a stretch where it's more simple and then this is.

Squish, right, anyways, so that is pretty much it, I don't think I really have much else when it

comes to that.

Oh, actually, I do.

And what actually just talked briefly about volumes really quick or just ribbon's in general.

So let me go ahead and scoot this over.

Let me see if I have enough room.

Let me move my camera over just a little bit, OK?

So when it comes to ribbons, ribbons are actually kind of underrated.

I feel like when it comes to the art community, it feels it feels like they should be more.

It's really important when it comes to drawing hair or even when it comes to drawing clothes as well.

So let's actually just draw a ribbon.

So when it comes to ribbons, very, very simple we want to do is draw three lines.

Let's see here and then connect the two.

So let's say this one kind of comes over.

This is kind of going towards the back.

It's going towards more towards the front.

This is where we go.

And so we have one down here.

One here and you see a little bit of this one going towards the back, that is basically a ribbon in

a nutshell.

So it's kind of like forms kind of over overlapping each other.

Let's do another one.

Let's say we have a ribbon going down more like this.

We can basically just kind of put in some nice little things here.

And then what we can do to show some form is just kind of shape this in a little bit.

So when it comes to the Corchado, you want to just kind of put that right where it kind of starts bending.

And then when it reaches kind of like a halfway point, you kind of want to go have tone, meaning lighter

tone.

Socor.

Half because it's kind of getting some bounce, slight core again.

Core, half a half tone, and that's trying to go Corrigan, and then if you want to have more dynamic

feel to it, you can at some tourney edges and turning into a really nice because it's just more of

like a line that kind of just shows that there's some nice form going along.

And this works for Cylinder's as well.

Let me go ahead and.

Draw that dry cylinder with some form added to it and I can go for more of this in depth later on.

But let's just go ahead and do that real quick.

See where do I put this?

OK, let me just draw a cylinder right here.

So let's say, for instance, let me draw a cylinder.

So depending on where you are, ladies, let's say, for instance, the light is going from the top

here, if this is a metallic metallic cylinder, this is your core shadow and it's very strong.

Corchado is generally right before that, right before the lighter tones, then as you go down, here

is your turnage, which is kind of like your your half tone here.

But it kind of shows like a nice it's kind of like a nice little.

Line that kind of shows that this is kind of stopping Point Museum and real quick to show you guys.

So here's a core, here's attorney Edge right before right before the right before the the holding line.

Holding line is basically the line that just holds the sheep together, so holding line.

And we had a half tone towards another the other training edge on the side, just make it just a little

bit lighter.

And just by doing that.

Just by doing that, you can already see some volume going on.

This is the this is the holding line at the end.

This is the trailing edge of the half tone.

So half tones are generally turning edges just to show you the volume.

And then the caution is just where the main shadow is compared to the light.

So when it comes to boxes, I want to do one more thing that so you guys can kind of see what's going

on with boxes here.

I'm going to put that right below here.

So when it comes to boxes, the important thing is that you want to make sure that when you're doing

boxes, right.

Go ahead and put my notes here.

We want to make sure that we see all three sides, especially when it's the most dynamic for us, so

here is one type of box and this is just more of like a depth perspective feel.

So here we have one side that is the flattest you want to go and that is usually best for back views

or like your background.

Masoom in.

That's one then our next one is two sides to side is basically we see one side.

And the other side.

That is or more closer, object to you, that's more closer to you.

Sorry, my language is not very good.

English is not good, even though I'm an American anyways.

So here we have our second number two.

Which is just showing two sides and then to kind of contrast that, we're going to do one on three sides.

So we have one side here, fanning fanning street straight.

Fanning, fanning, straight, straight.

So here we see three sides, one, two and three, and guess which one has the most depth?

Well, obviously the third one and that's what you want to show most in your subject.

So if you're going to do backgrounds, you want to kind of go by this kind of feel to it.

So let's see if I have anything else to do or else to kind of take note of.

I don't think so.

I think the next thing that we will do is probably more like just applying these shapes together.

So let me go ahead and zoom out and just show you guys what we all did.

Come on.

OK, so first, we kind of did a little a little overview on simple shapes, circle squares of triangles,

you know, circles are basically more passive, passive forms and can be useful, more like voluminous

fields feel to your figures.

This is more structure based, more overlaps, and then triangles for more sharper angles are for more

dynamic feel to it.

Now, here are some forms, some 3D forms.

You know, you have a cone pyramid and triangular prism.

Your cylinder, your sphere is your stretch and squish your boxes, your views and box in different

different views of the boxes and seeing which one is the most important that we have some ribbons and

some half tones and shading.

So let me know what you guys think about this.

Let me know.

Yeah.

Just let me know what you guys think about this.

If you have any questions, feel free to ask and I'll see you guys in time by.