- Lesson details
Our Daily Life Drawing Sessions are free timed reference videos that allows artists to practice figure drawing from images of life models. Now, we’ve taken this popular resource and put a new twist on them — demonstrations from your New Masters Academy instructors! In this installment, master draftsman and painter, Danny Galieote, draws along with you, working from Daily Life Drawing Sessions 1 through 5. Danny works with various drawing pencils on charcoal paper, sharing his thoughts on these poses and demonstrating the fundamentals of gesture and structure. To maximize your learning experience, we encourage you to work from the drawings sessions yourself first so that you can compare your drawing decisions with those of Danny.
- CarbOthello Pencil – Capuut Mortum Red, Burnt Sienna, Titanium White and English Red Deep
- Conté Drawing Pencil – Sepia and Black
- Strathmore Toned Drawing Paper
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to practice figure drawing from images of life models. Now we’ve taken this popular
resource and put a new twist on them: Demonstrations from your New Masters Academy instructors.
In this installment, master draftsman and painter Danny Galieote draws along with you,
working from Daily Life Drawing Sessions one through five.
Danny works with various drawing pencils on charcoal paper, sharing his thoughts on these
poses, and demonstrating the fundamentals of gesture and structure.
To maximize your learning experience, we encourage you to work from the drawing sessions yourself
first so that you can compare your drawing decisions with those of Danny.
for Disney for many years. Life drawing has been a big part of what I do. Here we’re
going to be doing some quick sketches. We’re going to be working from the Daily Life Drawing
Session videos that we have at New Masters Academy. What I want you to do is go through
these and do them on your own first and then come back to them and compare what the other
instructors are doing. Comparing other instructors, what they’re doing, you’re going to start
to see a lot of common denominators with what they’re doing. That’s how you learn. But,
first do them yourself and come back to it over and over again. Let’s get started.
Okay, so I’m going to be starting off this little drawing session here with some Stabilo
CarbOthello pencils. I’m using 645 and 655.
The 645 is a little bit on the redder side;
655 has a little bit more of sepia look.
Red chalk. I kind of prefer that look. It has
kind of a warmer classical sort of feel. Basically
what I’m doing is I sharpen pencil so that
it has a long point like this so that’s our pencil. By having the pencil sharpened
like this I can get a wide stroke. I could turn the pencil and get a nice fine stroke.
I can get soft tones. I can do quick core shadow and block in of the shadow like that.
It gives you a lot of ability to do different line qualities with that. I like to have several
pencils like this ready to go as you’re starting to draw your session. Because when
the model is posing you don’t want to have to stop and go and sharpen your pencil. Whenever
I teach a class I always tell everybody in the class to make sure you have three to five
pencils like this ready to go.
Okay. I’m going to start off drawing this one on the left.
The first thing I’m always looking at is the rhythm and the flow.
Posing rhythms. Thinking about balance.
So once I get the torso blocked in and these arms are kind of just secondary to the action of the
figure, I’m going to start looking at just the quick indication of the position of the
head, the pit of the neck, sternum, rib cage, side to side. Okay.
Block in the head, neck. Thinking about this torso movement.
I’m not drawing the whole figure on this one
I’m just drawing mostly the torso here.
So I want to find this rib cage.
Breasts on top.
I’m going to draw this one on the right here. One of the things
when I’m drawing the figure on these quick sketches, sometimes I’m thinking about just
doing a part of the figure. You don’t have to always do the whole figure especially if
you’re just getting warmed up.
Sometimes I’ll do a whole page of drawings just by
doing a portion of the figure. Sometimes you’ll just do torsos.
Sometimes you’ll just do hands, heads.
So I’ll be drawing this one on the right here.
Head, neck, shoulder relationship.
I’m thinking about forms fitting together. Quickly just getting the essentials.
Posing rhythms throughout the figure. I’m not going to bother myself with getting the
pectoralis and all that on top first. I’m just getting the rhythms of the torso fitting
together. The legs I can just treat as a shape for now. Thinking about the foot, the rhythm
of that foot into the torso. I could always block that in later and bring in that column,
this cylinder of the leg. But, let me get this pit of the neck, sternum, rib cage.
Breasts on top.
Torso, wedge of the abs. Okay. So head, neck, shoulders, rhythm of the torso.
I’m always checking alignments even on the quick ones.
Checking up to see where things are lining up with other parts so that you
get them in the right place. Feeling the actions.
The 7th vertebra will tell you where the rib cage is.
Feeling that slight pinch here. One side is stretching more. One side is pinching more.
Alright, so this one I’ll do the figure on the right.
Head and neck, shoulder line.
I’ll make it a quick indication of this ear. Set the head in space real quick.
Thinking about these knees creating this plane.
Rhythm of the legs from the torso.
Let me get this rib cage, little bit of the scapula, sacrum.
Hip structure here into this leg. Just kind of getting like a plane change here on this leg. I might just group this all together. Okay.
Getting this head in space quickly. Feeling this neck over the shoulder line. Feel this
other shoulder over here. I’m thinking about this tube of that torso going back into the
hip structure. This knee squashing up underneath. Feel this rib cage. Whenever you feel one
side, feel the other side. Try to find what I call the buddy system. If I’m feeling
one side I try to feel the other side. Try to get the feeling of solidity. Bottom of
the rib cage.
Okay, I’m going to draw this one on the right. Just get overall rhythms of the figure.
Subtle balance and not worrying about the lines to start with. Just get the overall
flow. Rib cage. Feeling one side to the other. Scapula. Hip structure. Feeling that hip pulling
off the glutes. This leg fitting in.
If there is any time quick…
I just want to get this head set in space real quick. The neck is behind that. The 7th
vertebrae is here. Angle the shoulders, trapezius. Okay. Now, this flow of this rib cage coming
off, and I’m thinking about this perspective, foreshortening. The hip coming off behind
that. Hitting this great trochanter and come down. Okay, let’s get the spine. I’m trying
to see through. Whenever you have poses like this you want to look through and try to the
feel the form underneath. Like this hand I’ll get later on if I have time. I want to get
the major stuff here, which is the torso, rib cage fitting into the hip structure.
I want to feel this scapula coming off here.
It’s a little more time to analyze.
Got the head back there. Got the rib cage.
I’m not looking at parts.
I’m thinking about the overall rhythms and fluid relationships and the harmony, the action.
You always want to go for the action of these figures. You always want to think about the
movement and the rhythm parts fitting together like both of those legs I’m putting together
right now because they’re kind of grouping.
Okay, so where is the pit of the neck? It’s under here somewhere. Sternum is under here.
Rib cage here and here.
I think I just broke my pencil, but I think I can get a little more out of it.
That’s why I have several to spare. I want to feel this oblique fitting in.
Pelvic crest there where I laid it in.
Feel the cylinder of this thigh coming toward me.
Got the other side of the glutes here and this other thigh underneath coming toward me.
You can see as I’m drawing I’m using the side of my pencil, and then the broad
side, so thin and thick lines together.
I’m just going to leave that here for now, and
I’ll get back to that.
Okay, so here we have the pectoralis, breast on top.
Breast on top.
Going behind the rib cage.
The arm coming from here, from the shoulder under there. Okay, so let’s get a little
bit of tone, core shadow coming down.
Quickly lay in a little bit of this light here.
At the last minute if I have time I’ll hit in a couple darks real quick, little accents.
Okay, so I want to get the feeling of this head to neck, 7th vertebra.
This shoulder relationship.
Getting that kind of blocked in, this head and neck, shoulders.
Okay, now for the action.
I’m thinking of opposing rhythms.
I’m getting overall fluidity of
the pose and rhythmic statement of the pose.
Okay, so now I’m thinking of solidity now.
I’m going to feel this rib cage.
The 7th vertebra. We’ve got the spine coming off of that.
I’m just going to get a little bit of an overlap here just to show more volume. Sometimes
you need to invent some overlaps based on what you know about anatomy.
Sometimes on the quicker poses I’ll even sneak in like the core shadow before I’m
even finished with the form just, because knowing that I’m going to be in a rush and
that it will give the drawing a more finished look if I don’t have time.
Okay, so I want to get this breast on top.
Get this hip to the glutes down here. Don’t be afraid to
show your underdrawing. These kind of extra lines are cool. They’re great to keep in your drawing.
Don’t be afraid to make mistakes. I believe there is an Italian term called
pentimento that they use in the classical figure drawings when studying them that kind
of indicate Pontormo’s or Michelangelo’s quick sketch. There were several lines or
mistakes that they would use to find out the figure’s movement and action.
Okay, just a little bit of time left, so I’m going to do a quick indication of this foot.
Then I’m going to try to add a little bit of light chalk real quick.
Just a quick indication of that hot spot. You always want to have like a main character and supporting
characters, basically, of your drawing. So you have that main hot spot,
and then you have some lesser important areas.
A little bit on the face real quick, and then just block in this core shadow real quick.
using Stabilo CarbOthello #645, and I have
a white for the five minute poses. There are
some #670. The 645’s are a little redder.
The #670 is a little bit more of a red chalk.
I love the feel of that red chalk on the paper.
I might use a little bit of this dark brown Conté #617.
You’ll notice that I sharpen
the pencil so that there is a long point.
Basically you can see that I can get a wide broad stroke. I could turn the pencil and
get a thin stroke. That variety of line is going to be really important.
By the way, when I’m starting these pencils—you guys probably already know this, but just
to be sure. When I sharpen this I’m going down at an angle, and I’m turning with my
left hand. I’m shaving with my other hand as I’m doing it. Then I carve at the point.
So just so you have enough length of charcoal showing that you get a nice broad against
a nice thin line. That’ll give you a nice way to do, like if you have a core shadow
then you could block in the shadow like this. Or if you have a core shadow you can always
use your finger a little bit and get a heavier or broader core shadow versus a thinner one,
a harder core shadow versus a softer core shadow, depending on if it’s bone or muscle.
The bone is going to have a harder core shadow. The muscle and fat is going to have a softer
core shadow, things like that. So having your pencil like this gives you a variety of line
work that you can do and subtle tones that you can do.
Okay, I’m going to draw this one on the left here.
I’m going to try to keep these a little smaller since these are one minute.
I’ve got a broken pencil so I have several ready to go.
Hip structure fitting in.
Okay, I’m going to draw this one on the right.
All about the rhythm especially on these quick ones.
Long fluid lines. Pit of the neck, sternum, rib cage. Abs fitting in.
I’m going to draw this one on the left.
Okay, getting these rhythm flows. Pit of the neck.
Rib cage, twist. Okay, so I’m going to get that head.
Neck, shoulder line.
Rib cage. Pectoralis, scapula.
I’m going to draw this one with a little darker
Conté cause I’m going to draw over the other drawings a little bit.
Quick indication of the head. This is the drawing of the figure on the right.
So you notice on that drawing
that the latissimus right away on this side, which is going to be way out here, I’m going
to draw mostly the torso on this one.
This arm coming up, okay 7th vertebra.
Actions on that right hip.
That’s the most compression there, so I’m going to play that up against this side here.
I’m not going to draw the whole leg on that.
I guess I can draw this.
I want to try to make room for the guy underneath here, our next pose possibly.
Rib cage, scapula.
Get this hip to fit in. Sacrum, hip to fit in.
So I’m thinking about that hip structure underneath before I draw any leg fitting in
or anything. I’m thinking about where that hip structure is underneath.
If I need to check alignments with that knee to the head, things like that. Don’t go for the parts.
Just go for the rhythm first.
Wedge of the torso fitting in.
Getting this torso sitting in. Get the arms in space real quick. These legs come down.
Get that rib cage first. Get that rib cage first, and then I’ll add the forms on top.
Alright. Head, neck, shoulder line.
So these kind of poses are kind of impressionistic, basically. You’re giving the impression of that movement in
flow, and then you’re adding the forms on top of that. Ribcage.
Feel the pinch on this side.
Turn this one over this way to show this hip fitting in to that oblique.
I’m just going to play with this core shadow, invented core shadow.
I’m going to be kind of drawing over my other drawing a little bit,
getting this flow back into the head.
I want to get this 7th vertebrae, part of this back here on this
side. I’m going to feel the spine to this side underneath, scapula. Bouncing here to
this core shadow here. We’ve got the oblique crunching. I’m going to switch to a darker
pencil so I can see. I rarely switch colors during a drawing,
but in this case it kind of calls for it.
Pinching here. Trying to avoid tangents. I avoided a tangent in that
little crunched-up area. Make this head a little bigger.
Shoulder line here. Pit of the neck will be here.
Okay, now for the action. Let’s get this flow coming off here against this hip this way.
I’ll get this leg to just flow right from this torso.
This right leg going back in perspective slightly.
Okay, this arm is coming up.
Okay, pit of the neck, sternum, rib cage.
I want to feel this oblique—
get this hip tier to fit in.
This leg coming from inside the hip.
Okay, I’m going to get this other leg real quick just to
indicate this, and then I’ll go back up to the torso.
Okay, feel this pectoralis stretching,
wrapping over the top.
Think about that tube of the arm going back this way.
Triceps. Keeping the curve of this arm coming up this way.
Got the lats connecting. Overlap coming in.
I want to look for this wedge form here on this second set of abs coming down.
This pectoralis is coming toward us more than the other one.
Bouncing back from the bicep. This core shadow to the forearm.
We can bounce on this plane of the glutes, bouncing
back up here and then down to the hamstrings.
Fibula, calf, Achilles.
I’m just going to block in this back leg here into shadow.
Quick indication of that arm. Okay.
By the way, as I’m doing this, as I’m adding these light highlights here,
I can also go in with my little bit of kneaded eraser, and I can pull off some of my lay-in lines,
which will allow the light chalk to go on without smearing the darker underneath.
You can do that if you have a little bit more time.
I’m going to get my kneaded eraser. I’m going to get some of these serratus real quick.
Bouncing back down to that wedge.
Stretching on that pectoralis.
If I have any time left I’ll pump up that core shadow.
Sometimes that’s nice to do.
Okay, so on this drawing I know I went a little bit over the five minutes, but this is basically what I do after the
model goes down and they’re taking a break. I’ll go back in and I’ll try to find ways to make core shadows
thicker and deeper in some areas and harder and sharper in other areas. So like, for example,
on that serratus it’s softer here, and then it gets to a hard cast shadow. Then it bounces back to softer core
shadow and then bounces back to a harder cast shadow and then back down into the rib cage.
For example, I’ll do that kind of stuff even more after the model goes away. I just wanted to show you how
I do that. I’m also thinking about the rhythm of this core shadow itself that goes with this figure.
So even though it’s bouncing back all the way down, it’s going down the figure like this. It’s maintaining this to
this all the way down through the figure giving me a rhythm.
I’m going to fit this guy here on the corner of the page. Maybe a little bit smaller.
Let me get this torso in here.
This leg coming up.
Okay. Let’s draw this torso here since we have space, and there is some good lighting on this.
Okay, so pit of the neck. Sternum,
rib cage. Pushing off. Feel that rib cage pushing out from underneath the skin.
Pectoralis on top.
Get the second set of abdominals here wedging in.
Serratus pulling into the ribs.
Pull this oblique off the rib cage into here.
You have this belly button here.
Little bit of these lats.
Shoulder fitting in.
I’m leaving the head unfinished on purpose. I just want to concentrate on the torso on this.
Okay, so I need to feel this.
Adominal area, I’m going to get this oblique here. Then we have the hip fitting in underneath.
Great trochanter, vastus lateralis of the thigh. Abductors, quadriceps.
I’m going to add a little bit of this light here. We have a minute left.
I’m going to group that tone on the chest.
Okay, so I’m giving it kind of an impressionistic sort of finish basically.
Sometimes you can leave parts of it unfinished and
just work on your torso and getting nice fluid lines
and construction and light.
There is a smooth side and a rough side. In this case
I like to use the smooth side.
I’m using CarbOthello pencils #645. I have a Conté
ready to go in case I need that, #617.
Some quick poses.
Alright. So head and neck. Shoulders.
Legs bending. The 7th vertebra.
Rib cage. Stretching, pulling. Hip. Got a pinch.
Quick indication of the ears. Great opposing rhythms here to here.
This arm comes out.
Hip structure. Legs coming out from there.
Opposing rhythms. Hip structure to this leg.
Rib cage, scapula. Breasts on top, bouncing down.
Block in the head shape. Neck fitting in to the shoulder.
I’m going to get this back here to come against this hip.
Pull out this hip.
Shoulder blade pushing up.
The spine, rib cage here. Here, scapula.
Alright. Block in the head shape.
Neck, shoulders, rhythm of the back through the belly.
Smashing of the hips. It’s nice to get some straights to compliment the other curves coming in.
I’m going to group these legs together at first.
I’m just going to lead that hand up here as a curve. I’m looking for flows. I’m not hitting joints and trying to stop
at the joints. I’m just getting these fluid movements. Pit of the neck. Sternum.
Breasts on top. Smashing into the abs here. Fitting in.
Drawing through, feeling the hip structure fitting in.
Oblique, leg fitting in. Later on I could come back here if I had time and finish these legs to fit in.
I’ll be looking for the placement of these forms. If it was a live model we’re dealing with
I’d be thinking about the negative space between the forms to get everything more accurate.
Okay, so we’ve got this one here. I’ll draw this one a little smaller.
It’s cool sometimes to be able to change the size of your drawing on the same page.
The size of the figures can change.
Feel this against this.
The 7th vertebra, spine,
rib cage a little bit on this side here.
Wrap the scapula around.
I’m trying to indicate overlaps in space.
Showing solidity, this back plane.
Pectoralis. Breasts on top.
And this overlaps with the hip, and the leg behind it.
The thigh coming out. Pick up this overlap here to help indicate that cylinder.
Just that flow of the foot coming off. Keep it simple.
Don’t get into details much on these quick ones.
Okay. Block this head in.
Get the ear. Set the head in space.
Let’s get that shoulder line. At an angle, notice that angle.
I want to get against this.
This leg is going to go off the page. I’ll just leave it as a half-finished leg.
Curve of that arm through the hand.
Blocking in that core shadow real quick and using that as indication of structure.
I’ll draw this one on the left.
Rhythm of the torso. Get the slight angle of that hip structure fitting on that plane.
Straights versus curves, and I’m kind of designing a little bit as I go.
We’re simplifying things.
The 7th vertebrae.
This angle here is a rhythm. That’s going to play against the right side of her rib cage.
Shoulder is here. I’m looking at where the acromion process of the scapula here and how this is going to
flow. These two lines here are the width of the rib cage, and they’re starting roughly around the acromion of the
scapula against this rhythm here. So boom, boom, boom. Giving me opposing rhythms. Angle of the hips.
I’m bringing this hand in slightly just for the sake of the page.
Looking at the big rhythms, how they’re relating to this leg.
Okay, I’ll get back to this part here. The 7th vertebra.
Twist of the spine.
Got the oblique up here.
Scapula pushing in against the spine.
Feel that back plane.
I’m just going to leave that hand as a shape I’m bending at the wrist,
and those fingers which continue off from there.
Trapezius, deltoid flowing into the triceps.
Keeping that curve of the arm, coming down this way to this hand.
Feeling that hip structure fitting in to that oblique here.
I’m inventing this overlap to make it have more form.
I’m just going to do a quick indication of this leg. Smashing here.
I’m going to add a little bit of light.
Okay, so I’m going to draw this one here on the left.
Pencil is broken.
Block in that head. Now we’ve got this rhythm of this body coming up.
Okay, so there are my rhythms.
Now I want to come in and start to get some of these forms three-dimensionally.
The 7th vertebrae is in here.
Get this arm indicated real quick. There is a rhythm of this hand.
Breasts on top.
Okay, I want to get this feeling of this wedge of the abs fitting in.
I’ve got the obliques pulling off of the rib cage and hitting the iliac crest, pulling down to the glutes.
Feel this leg coming out. Feel the other side of these hips over here.
Feel this leg coming from back here. I can think though and draw through and feel that connection from back
here, and this angle, it’s not straight up and down. It’s at an angle.
I’m always looking for the subtle angles and tilts.
Let’s add a little bit more light and dark on this.
Feel that deltoid, scapula bouncing back to the rib cage.
Feels those ribs fitting in to there. Obliques.
Slightly coming forward.
Okay, and I’ll draw this one on the left.
Opposing rhythms all the way through.
That’s the main thing that’s going to hold your drawings together, are these opposing actions here.
You have this against this to this to this to that.
Everything else is just adding on top of those rhythms, and it’ll hold it all together.
Okay, so when I have poses like this, especially quick ones, you just have to go for that torso
and try to figure out what’s going on three-dimensionally.
Cause this arm is in front.
I draw through, definitely draw through and feel the form underneath as I’m doing these kind of sketches.
Head and neck, shoulders. Angle of the hips.
This arm going up. Scapula pulling off. Lats.
Feeling that plane that the hips are on.
Okay, 7th vertebra. Spine. Lats pulling in on top of the rib cage.
Just going to group these legs together.
Pit of the neck, sternum, rib cage pushing out.
Chest on top as a shield. I’m kind of grouping the pectoralis together.
I’m going to add the lats on top of this and the serratus.
Abs fitting in.
Hips fitting in.
I’m going to get these legs to come down.
And they're foreshortened; you can see they’re larger in comparison
to the rest of the body, so I’m going to bring those down.
Okay. Head and neck, shoulders. Rhythm of the torso.
Hip structure first and then the legs fitting in.
Treat this arm as a curve. Don’t go for the lumps and bumps first. Just go for the rhythm.
The 7th vertebrae. The spine. The scapula.
I’m thinking about the rhythms building on top of the rhythms.
Core shadow invented to add more form. Trapezius.
And it’s nice to put a hard edge like this on the hand and then build that dark up against it.
It creates a nice feeling of contact to the surface.
Thinking about that plane that he’s sitting on.
That little bit of light.
So I’m drawing through on the torso and I’m feeling that rib cage and form underneath.
It’s kind of hard to see the obliques and the abs coming in, but I’m inventing this little overlap here,
and this hip fitting in. This is where the thigh is fitting in.
So sometimes you have to draw what you know a lot of times to get things to feel more solid.
If the lighting is not quite right or if it’s in an awkward position and you want to make it look better,
as an artist you have every right to change things around a little bit based on what you know.
So I often do that.
All of this is in shadow here.
Add a little bit of an accent here with some dark brown.
I can get the shape of the head. I’m thinking through now because this torso is being covered by the leg. I
to think through and feel where that hip structure is.
Whenever you have this kind of situation you don’t want to just draw what is in front
and ignore what’s underneath.
Set that ear in space real quick. Jaw, neck, shoulder.
I want to get this pit of the neck, sternum, rib cage.
Breasts on top.
Nice opposing rhythms in this pose.
Okay, so you have to draw through and feel where that torso is underneath.
The rib cage is under here somewhere.
The hips are coming toward me this way. The box of the hips would be in here somewhere.
That arm to come across.
Back up. So now we’ve got this hip structure. See a little bit of the rib cage out here.
Coming back inside underneath the arm and then the back of the hip, pulling out to the glutes.
Then we’ve got the leg fitting in here.
So drawing through is very important even when you’re doing quick ones when there are a lot of forms in front,
like the arms are covering all this, all these other parts underneath.
Bottom plane of that jaw real quick, just to indicate position of the head, shoulder.
And that leg coming toward us, overlap.
And I’m going to cut this a little short. I’m not going to show the whole lower leg coming down, just to the calf.
Okay, so I’m just getting these opposing rhythms, rib
cage against the hips. Overlap of the scapula, rib cage.
Feel this rib cage on both sides.
Trying to keep this rhythm of this arm through the hand.
Okay, I’m going to get this head and neck/shoulder relationship.
I want to feel this flow of this rib cage going against the hips.
And this back leg here indicated.
Okay, so 7th vertebra, spine.
Feel the corner of that rib cage. Obliques.
I can’t see where the ear is, but I’m imagining it in this area.
I want to feel this shoulder line.
The pit of the neck is going to be under here somewhere.
And the torso is curving toward us.
That hip is in here, this hip structure is in here coming toward us this way.
This leg is coming up from there like a cylinder coming up through here.
Okay, now I want to feel this knee coming toward me.
One little tip, whenever you’re drawing from a model and they’re coming toward you like this,
like the leg or foot is coming toward you, draw it a little bigger than you think
for the foreshortening to feel pushed.
Okay, now this other leg is coming out toward me from here. The knee is here.
Feel the squareness of the knee ending here.
Calf to the heel. Now, this arm is coming underneath
smashing against the thigh,
and this hand coming out from underneath.
I’m going to look at the fingers together without the thumb for a second
and just get a feeling of the position of his hand.
Okay, the pit of the neck. We’ve got the clavicle coming over the shoulder.
I want to hit angles within this curve. Scapula to the deltoid.
Pectoralis, breasts on top, and this arm going back down away from us.
Feel some of the creases here on the torso and hit a couple dark lines of this leg coming toward us.
So we’ve got this head against the swing of this rib cage to the front of the belly, hips pulling out.
I’m hitting the corner of that pelvis.
Swing of this left leg down.
This left arm. I’m getting the overall flows of everything first, and then I could build into this.
Arm pit. This is like a landmark telling me where I’m at.
Latissimus pulling off from there.
The other scapula.
Hit angles within your curves. I’m going to hit that angle there. Breasts on top.
I want to get the feeling of this ab here fitting in to the stomach.
Belly button here.
Obliques pulling off.
Okay, now in this case I want to invent an overlap right here of this hip right here fitting in front.
This leg is fitting into this hip now.
Feel this tube of the leg, connect it down through here.
Front of the thigh.
Get this arm. Deltoid, soft edge. Come on top with a hard edge.
Feel the biceps. Brachioradialis on top.
To the hand here.
We’ve got the thigh behind.
Got the calf.
Okay, I want to indicate real quick...
If I have time I’m going to take a little bit of this tone out so I can add a quick white tone in this area.
Okay, and then if you have real quick,
again, you can add a couple little
accents of darker brown chalk on top of that.
Free to try
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17m 30s2. Session 1: Angelique Part 1
10m 21s3. Session 1: Angelique Part 2
19m 0s4. Session 2: Will Part 1
15m 45s5. Session 2: Will Part 2
16m 28s6. Session 3: Daria Part 1
10m 21s7. Session 3: Daria Part 2
16m 18s8. Session 4: Ryan Part 1
10m 22s9. Session 4: Ryan Part 2
15m 59s10. Session 5: Tiffiney Part 1
10m 22s11. Session 5: Tiffiney Part 2