- Lesson details
In this fourth video lesson of the Drawing Fundamentals series, New Masters Academy instructor Sheldon Borenstein deals with three dimensional form. You will learn how to use simple solid forms in combination with cross-contour to create drawings that seem to pop right off of the page.
- Prismacolor Colored Pencil – Scarlet Lake
- Pitt Pastel Pencil – Blue and White
- Prismacolor Charcoal Pencil
- Kuretake Disposable Pocket Brush Pen
- Toned Drawing Paper
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In this fourth video lesson of the drawing fundamentals series, New Masters Academy
instructor Sheldon Borenstein deals with three-dimensional form. In drawing, form
creates a sense of realism, depth, and readability in your work. The techniques
for representing form in drawing go back hundreds of years. You will learn how to
use simple, solid forms, in combination with cross-contour, to create drawings
that seem to pop right off of the page.
Form. Form is probably the most fun. And it's probably the easiest, but it's going to
require knowledge. Form is where we get into what you hear me talking about a lot:
Pretzel Spot. Pretzel Spot is hot. It's that part: you know when you go to the
mall and they've got all these pretzel places? And if there's a Pretzel Spot out
there, I'm sorry – I'm trying to find a name of a pretzel place that doesn't exist.
But let's say we have a place called Pretzel Spot, and that's my favorite place. The thing
about Pretzel Spot is that nobody eats the pretzels; that's where all the hot people
hang out. Their logo, when they advertise: "Pretzel Spot Is Hot". It's where the hot
people stand. And the cool part about Pretzel Spot is you get to touch these
people. So you can walk up to them while they're in line and run your finger over
their backs. They don't mind! It's why they're there. They're there to be admired.
[humorous inflection] They asked me to go, but I haven't reached that level of hotness
yet. Give me about four days. I'm on the 20-pound-per-day diet. That's putting on
20 pounds a day; I think I could take off 20 pounds in 5 years. But – what you do is
take your fingers and run them over their bodies, and you can feel all those beautiful
bumps. You can reach around and get your hands on those beautiful forms, get your
hands on those round, perfect, firm, folding shapes that are just so fun to
hold onto. [deadpan] And then you can also do that with women. And run your fingers
over the abs. Be careful, because certain parts of the body you can cut yourself,
like the shoulder blades are sharp, you know. And feel that form. Don't worry
about gesture, because [jokingly derisive] they don't have any. They don't have any
story, they don't have any soul. People who work out like that don't have any soul.
You need soul, you want to have somebody who's got some meat, some fat, you know,
like a jolly, "ho ho ho", right? What do these people – just stand there and be admired?
Right? How many times working out? Come on. If I want to work out, I'll Google it. So,
now, you feel it. That's where we get that cross-contour which we're demoing for you.
Wrap around, wrap around. So, if you wrap around that shape and feel the bumps, that's
form. Form will work with what we call structure. Structure is construction. It's how
things fit together. So let's review it: form is construction, if you think about it.
We see it in normal life. Let's do a building. Who's the first one who does
the building? The first one is the architect. They look at this scenery – this hill with a
background. It has to work aesthetically and it has to work functionally. You have
to think about traffic. How do you access this building? What about the water runoff?
How are we going to work with that? The irrigation? Is it in a fire area? All of that
stuff is architecture: How does the whole thing come together? Also graphically – so
to think in the graphic shape, you're thinking how it's going to work and
whether it'll be accepted. If you have these beautiful, rolling hills and this
really sharp building, they may not approve it. People today don't want to
ruin the nature part of it. Those are artists, engineers, and they wear ties.
OK? So that's your gesture. A lot of thinking. They might be involved with that for years
before they can even start to break ground or lay it out. You got that? That's your
architect and that's your gesture; that's your story. Next: construction. Gesture,
construction, anatomy, technique. Construction. Who are those people?
They're people who hit things. You ever talk to those people? [low voice] "So, uh,
what do you do for a living?" [loudly] "Construction!" "What do you do?"
[loudly] "I hit things! I've got a hammer. I hit things. Make it fit! See this? You
don't get this by not doin' it! See this? This and this, they match!"
[normal voice] You ever see construction guys that've got the bit guts? Not all.
"See this?! See my hammer? I make it fit!" [normal] "What happens if it doesn't fit?"
[loud] "I make it fit! I hit it! I'm a construction guy!" [normal] "How do you feel about it?"
[loud] "I don't feel unless I hit the wrong part! THEN I feel. I feel it, man! You want
to feel it? Come here, I'll give you my hammer. You see?" [normal] "Well, how's your feelings -"
[loud] "Oh, feelings?!" [normal] "What do you think?" [loud] "I don't think! I hit!"
[normal] "How do you know where it goes?" [loud] "I look at the plan. The plan tells me
where it goes, it tells me where to hit." Got it? Construction. Gesture, construction.
Construction takes away all of the feeling, and that's why you'll find your drawings
get really stiff in the construction stage. You know, "Where'd my drawing go? What
happened to my gesture?" It'll come back. It comes back in the anatomy stage. The
anatomy works with the gesture. The anatomy has beautiful rhythms. Now comes the finish
carpenters, and they'll soften those edges. The rough carpenter leaves. [loud voice]
"I'm going to the next job! I work for a living! Not like you guys. I'm gonna go
hit something." [normal] "Well, who's coming in?" [softer voice] "We're finish carpenters.
We have smaller hammers and smaller nails and we soften things out a little bit."
Then you'll get more of the rhythm in the building. Now the building's done. But it's
all wood and concrete. Who comes in now? Now comes the technique. Gesture, construction,
anatomy, technique. And who's that? That is the designer. [nerdy voice] "I think what we're
going to do is – we have a green building, we have a green mountain. We're going
to do our building in green. But, if we have a building in green, we can't see the building!
I'm going to use a pink outline on the door! Oh, it'll be marvelous! We pull up, we know
where to go because we follow the contrasting color. The contrast of the green is pink."
[low voice] "We don't like pink." [nerdy] "Purple! A purple door! I should've thought
of it. And then we'll have parking spaces. Beautiful yellow parking spaces. They'll
contrast with the – the yellow blends in with the green, which blends in with the
mountains. Oh, it will be marvelous." [normal voice] Technique. Gesture, con-
struction, anatomy, technique. Different unions, different people. Artists do it all.
"Whoosh", put it down. Ya got it? That's all. Now, spend the rest of your life learning it.
You have to know how things fit together. Your gestures, your story, then you get your
shapes. Straights and curves, complex, simple, and so forth. The form requires knowledge of
structure; how things fit together. And this is what you can get called out on, where you
can really play with your shapes and really have some fun pushing the narrative and
where things go. With shapes, things fit together. Let's do some simple ones: the male.
I'm going to play a lot of opposites. I'm going to go off of the drawing. Take it to another
direction, because his rib cage is going this way; I like to go opposite. I'm one of those
artists in the class who'll change the pose in a moment. I'll just go off on my own.
And it was really funny: this new teacher came in one day. She's walking around the
room, looking at the drawings. She's looking at the model and she goes, "What's going on?
I don't get it." She's an illustrator. I guess she stays pretty close to her model. So, I'm
going, "Oh, man, I'm not going to undo 17 years' worth of work." I said, "Come on over,"
and I sat her down and showed her what we do, and she goes, "Oh, I get it." This is where we
take control of our drawing and start putting it together so that we own the drawing.
Remember, if it already exists, we don't need you. We want to be able to push the narrative
and tell the story. It doesn't mean you don't spend 50 hours on a still life, really looking
at the nuances. But for me, nobody calls me to do something that already exists.
They always say, "Dream me up an idea. Make this work. Figure this out." A lot of what I do
in my art is a lot of thinking, especially since my true love now is forensics. Man,
you think so hard, you can actually feel your cranium start to compress. I love it. Who
would've known back in the olden days? All right. Charcoal. Ooh, I have this one here.
OK, let's figure this out. So, now we have our shape, and we also have to make it fit.
Bit of the neck. Cranium. This line's coming here. We can actually make it go into the
arm. Box shape. Curve. And then we're going to go nipple to the nipple; really feel that
form. And we're going to do this also with still lifes. We're going to set up some
selections. You can see them. This line fits under the deltoid. And that's your structure.
See that? And that's where the cross-contours come in. Like that. And this fits around here,
coming this way. All the way around. When you're talking about form, you need to think
of the entire form. Now, for design, if I have a curve on this side – I think I'll
go straight here – feeling the top of the form. How does this fit? It fits in here.
It turns, comes around.
Here's this box shape fitting in here. And down here to the navel area.
And that comes around – this fits inside, and that comes around this way.
Straight to curved.
OK, so, I've got that. Now, this arm fits in here. There's your pec. This is so complicated,
I think I just want to go with the straight.
Box. Curved – see? And then this draws through. This is called drawing through.
Like that. And then this, right here, will come up this way, and this will come up this way.
A straight over here; we'll go with an S over here and a box shape here.
We're starting to feel this form coming towards us with these cross-contours. And
this is your structure. Scribble, shape, form. Form is structure. See?
If I put a straight here, I can put an S shape here. There you go. This has got
a straight here, and I'll put a curve up here, and that'll take me to this part. And then
this will come around up here, and then back down. See how that works? Let's
take a look. We're starting to get some structure. And that's your form:
Scribble, shape, form.
OK, let's take a look at that while we do another one. Let's do the girl. I'm really
enjoying doing the land with the two different colors. It's a good idea for you to
think about that. Have two different thought processes – it's OK. One for your story,
one for your shape. You can work in three colors! One for your story, one for your
shape, and one for your form. You can work on tracing paper. With Photoshop, you can
work in three different layers. There are no rules. We don't have the process police
coming over to say, "Ooh, you didn't do it in the right order." Just make sure it's all
there when you're done. Have fun! OK, again, the serious side of me. It does exist.
I always laugh at the students. I had a student once who said to me:
[serious voice] "I don't like your humor." [laughing] I was in Europe, and one of the
employees of the studio said, [vague European accent] "I don't appreciate your stupid American
humor." And I said, "I don't think America appreciates my stupid American humor."
It was great. I thought it was cute. It didn't start any wars or anything, so we're OK.
I've got to keep the class awake right now. The reason why I can be so serious kind
of here and not so much in the classroom – I try to do something silly every so many
minutes – is that you guys can freeze-frame this, go wash your face, get a sip of Coca-
Cola or eat some chocolate, and come back. They can't – they're stuck in the classroom.
All right, there's your land. Now, let's have some fun. Next will be shape.
Correction: Everything we're doing right now is the land. The land is scribble,
shape and form. That is the land. Can you do it all at one time? Absolutely. Have fun.
Box shape, straight, S. Back in the olden days when I was working on animation,
I used to program this in on one drawing. One drawing would take me an entire night.
And I would program: straight, S, concave, convex, on the entire character. By the middle
of the scene, I was doing the same drawing in 20 minutes. Because you just program it.
You put it all down. That's kind of what we're doing: straight, S shape, triangle
shape for the scapula, straight for the sternum, curve for the back. Feel the –
we do straight down to the iliac crest, pull in the navel, coming down with a curve to
the pubic arch, to the iliac crest, back, boom, boom – towards here.
There we go. That was our shape. Now, fun. I'm really enjoying doing this breast thing.
I might come off the side of the nose right into the breast. Boom. I'm having fun with
this straight off of her chest. And then a curve for the neck. Stuff like that is just
fun with design: straight line, curved line. Take it to the next level of design. I think
that's probably one of the greatest things that's happened to me an artist – is Bill
Perkins. Having breakfast with Bill Perkins and having him show me design within the
drawing. That doesn't mean that all my other teachers didn't – they surely did – but to sit
down with Bill Perkins, who's such a master designer, and have him show me how he
designs, and then being able to apply it to my work, has been life-changing for me.
So, I actually look at my work and call it "post-Perkins": past that time, where I'm
applying it. Vilppu, of course, is the master in that area. He really knows how to design
his figures. You combine those two together, you can't lose. And you've got both of them.
I got to study with Steve Huston at Warner Brothers when I was supervising. I was very
involved with training. I would go in and study and sit right with my interns. And,
you know, I'm teaching them, and I would be sitting right next to them, studying.
Which kind of freaked them out, because I think they were afraid of me. I don't know
why. Hopefully you guys aren't. But watching a master like Steve draw, and seeing his
design and the way he simplifies. Remember: a master draftsman doesn't take something
complicated and make it more complicated; a master draftsman takes something that's
complicated and makes it simple. And these three absolute masters, each one in their
own right, you combine those, and you can't lose. I'm just here to get those fundamentals
down for you guys so that you can move on to my teachers. And I've got a couple hundred
more. Today, I study with my students, which is something that I want you to think about.
What I do is train my students to be so darn good, and then I study with them, and I allow
them to be my teachers. And I give them the credit for being my teachers. So, I'll actually
give credit that I learned that from a 17- year-old, or a 16-year-old, or a 19- or
22-year-old. One of my mentors right now, I've been teaching for years. He's 28. I
started teaching him when he was in college as a freshman. We Skype every week; he
teaches me Maya, and I teach him to continue to go over his drawings. So we want to make
sure you understand that family and the connection. Take your ego and throw it
away. Egos will destroy you – it'll destroy your art, it'll destroy everything. Confidence
is the key. Are you any good? "Yeah!" Are you the best? "No!" Do you know
everything? "No!" Are you confident? "Yeah!" Can you get the job done? "Yeah!" Are you
the best? "Absolutely not." Are you still learning? "Oh, of course. Every day. I study
morning to morning." OK? That's what I want you to think about. So, you should really
be thinking about how these lines will pull together. You really want to be looking at
Bill Perkins. Oh, you guys are so lucky to have him here. And then, curve around and
pull straight to the pubic arch. Bam! Right on down. And this is so fun – to have this
straight line against this curved line. And then, coming across the nipple. Then go
to Pretzel Time and start running your hands! Just start feeling. Oh. Wow! Let me see.
That's nice and firm. That's a ribcage. Oh, feel the soft breast, wrap your hands around
it. If you do it at the airport, you're going to security. How do I know? Been there.
They have nice security. Metal chairs and metal desks. The handcuffs fit nice, but
I think one of them gave me a doughnut, and that was nice. And the coffee's good.
I prefer Coke. But you never get arrested if you rub your hands over these forms
at Pretzel Spot. Pretzel Spot is hot! It's where we get to feel the forms. So you
want to run your pencil over these forms and really feel how they wrap around.
You know, how does this fit?
There we go. Then – I really want to put this coming in here. It's such a pretty form.
Pull this around, then I'll throw an S. Cross-contours. Make that fit.
And from here, across.
We're going to talk about this area a lot, right here. This is called the femoral
triangle. It's really important, but that's when we get into anatomy. Just so you
know, in case you're going on any trips anytime soon: this is where you hide your
M&M's, right here. There's not a whole lot going on in the femoral triangle. A couple
arteries, and a few little muscles poke up in there. They go deep. So, it's a good place
to hide your M&Ms, because, as they always say in the commercials: "M&Ms melt in your
mouth, not in your crotch." So it's a good place, right there. The next shape will start
here, and that's the leg. And in this case, it's going back. It'll go right there.
And then we'll overlap this way. And then this leg will come towards us.
It fits back into the buttocks, otherwise known as the popa. The rest will wrap
around and have a nice conversation with the serratus anteriors, which will go this way.
We'll do a wave into the breast, but also, you can wave to the back of the rib cage, which
comes around to that straight. So, we have this curve, straight, S, S. Against this S shape
here is a straight, box, box, curve. S, straight. Boom.
Triangle shape, leave it open. And here, this is a box shape. And don't worry – for
everybody who doesn't want to do figures; we're going to be doing this all with still lifes.
This is the structure part. Works with the shapes, works with the gesture. OK?
So try it. Fail. Just remember that when you're dealing with the structure part, you need the
knowledge. If you're doing the structure part and you're using a tree, you need to
know how the branches fit in the tree. This is where you have to do some studying.
Shape can be a little more intuitive, and gesture is pure emotion, pure story. And
with that, have fun. Just remember there's gravity in proportion. This – how do things
fit? – that's pretty important. And the anatomy ties it all together. Oh, yeah, I hear you:
[whiny voice] "I don't wanna draw figures." [loudly] Well, excuse me, there're some
pretty sexy trees out there. And they have anatomy, too! I do animals! I don't think
they're very sexy. Whoever designed the horse also designed the olive, and I think
they were drunk and they should get a 502. But, I don't know. Maybe a golden retriever's
kind of cool. I think humans are kind of cool-looking. I think the female ones have
it over the males, but that's a different story. And I like to study them all the
time. But there's never a better place to study a human figure than at Pretzel
Spot, because Pretzel Spot is hot!
This is a portrait of a man who's had a really bad day. They had a lot of that in
the Renaissance. His head's going this way; his shoulders are going this way; his pelvis
is going that way. [joking tone] That's your lay-in – let's go home. Here's an arm, here's
an arm. It just gets so complicated. [teacher voice] "You need to take the X factor of the
Y and intersect it with the trans-marginal attitude..." And it's like, just draw the head.
But if it's going back, then it goes this way. We can push this. What if we put his head
up against his shoulder? Can we do that? Why not? We'll bring the ears low. Lay in.
Laying in the drawing. Gesture. Story. Lay- in. Story. Laying in the drawing. Get it?
Cool. If we make the pelvis go too far, he'll look feminine. Arm. Now let's go for shapes.
Stop and check your proportions. It's like one of those movies where they're talking
about driver's ed: "Stop. Look to your right. Look to your left. Proceed." This would be:
"Safety check. Stop. Measure the heads. One to the sternum. One to the navel. One to the
pubic arch. Proceed." We could actually have one of those navigation systems. "Proceed
to the pubic arch." "Cool." Box shape. Rib cage. Then go straight on the front, curve
on the back. Why? Why not? Find the side plane. Then we'll fit in the external oblique.
And in this case, it's a box shape. If you're the normal American male, this would be a
spare tire. Otherwise known as love handles. But back in the Renaissance, they used to
work out. So they all drew people with real boxy shapes. I like to draw the pecs with
boxes for the simple reason that during the summertime – we're getting into artists'
secrets here – I actually make a living doing things besides drawing, but it is art-related
because I know my anatomy. See the box shape for the pec here? That's what I do. I sit on the
beach and have a sign around my neck that says, "50¢ to open a beer bottle." And they
bring me the beer bottle, they put it under my pec, because I have an amazing set of pecs.
They're square and solid, and they put the bottle under my pec, and I flex, and it pops
off the bottle cap. It's amazing. We recycle the bottle caps, we make money with that,
and I can do really well in one summer. It's really terrific. It's the pectoralis bottle cap
remover. That's what I do. It's all about flexing the pecs. So I'm very sensitive to
square pecs, because mine are boxes. Do you believe I can take an elevator right
down the center line? "Going down..." Boom. Hitting the top of that stomach right there.
Feel that rectus abdominis. Start thinking of these as shapes. The light's coming this
way. Right here, the end, is the box shape. That's a box. I'm in the perfect-body-in-
hiding business. I like to hide my perfect body. Grow real estate. Boom. See that?
See the box shape as it turns. Core. Light's coming this way. So I see that box shape
right there. It turns. This could be a cylinder.
There's a cool box shape right here. This is going away.
Deltoid could be a box into a triangle. This is really subtle: this is the brachialis. You
don't have to know the name, but just know that there might be a little box shape in there.
I want this to go behind.
S shape here. Straight. Law of opposites. Cross-contour. Fill the end of the box.
Sternum. I'm going to put in a cast shadow here, even though he doesn't have one. I
want to show his massive lats, which are cylinders. Serratus anteriors are boxes.
This is the wave. This lecture is designed to get you to run back to those rocks. The
faster and better you can do those, the easier this is going to be.
Thoracic arch. This part of it is a box.
Rhythms. Boxy. And this area right here, they really have a lot of fun naming this.
They call it the external obliques, they call it the flank pads, the love handles, all kinds
of stuff. In reality, it's the external oblique. This rhythm here comes around and talks.
And when you get to that area here, you take this little escalator down to the pubic arch.
And you can see the sign that says, "Inguinal ligament to escalator to the pubic arch, where
we have the restrooms and the playground, all in one spot." Come around this way, and
go straight. The light comes down and hits this side. Cross-contours tell the story: this is
a box shape. This is a cylinder shape.
This is a box shape.
This is the light part of the box.
[nothing audible until 1:30]
[nothing audible until 1:30]
Back to San Jose State. The first day is always fun because the students really
don't know who you are. Then you get up there and start doing these ridiculous things.
It's really funny. I wonder if the therapists on campus are busier after Friday. In group
therapy – "Hi, my name is Julie." "Hi, Julie." "I have a psychotic drawing teacher and I'm
not sure if what he's saying is real." "Oh..." "Hi, my name is Bernie. I have the same
drawing teacher. He wants me to go to Pretzel Spot because Pretzel Spot is hot. You feel
people with hard bodies. My mother said no. How do I get my homework done?" "Oh, trouble."
I had a kid once who had an asthma attack in my class because he was laughing. It was really
sad. I actually took it as a compliment. Poor thing. I thought it was kind of cool. There we go.
So what we're looking for right now is where the forms turn. Almost like a really bad soap
opera: "Where The Forms Turn. Last time, the rib cage was about to have an affair
with the external oblique." "Oh, no, if the rib cage has an affair with the external
oblique, what do you get?" "An inguinal ligament." That could be the fun zone.
This is a male. The key factor of the dif- ference between the male and the female,
when you're dealing with the shape is that the male has two knees. They'll have the
left knee, and the right knee, and this right here is the wee-nie. That can be a cylinder
or a box shape. But if you take it off, you get a really unhappy model. So we want to
put that in and find the side plane.
You may think I'm playing with anatomy right now. No. I'm playing with shapes.
And shapes have side planes.
And this is a Renaissance male, otherwise known as a [surfer voice] duuude.
Let's step back and take a look.
We're going to do a head drawing. We'll go slow. Usually when you do a head drawing,
you don't want to make the head much bigger than your hand. If you take your hand and put
it on your chin, your finger should go to your hair line, if you have one. I'm going to
turn this figure, here, straight up and down. A little bit more straight. We want to map
the neck. She's looking down, so the ears are going to be high. Your ears are attached
to your neck. Take a look at my head- drawing videos and you'll see that.
We'll put in our rhythm chart, which you'll find on the head-drawing videos. And be
really careful not to have too much wax on here, because the pencil – these guys don't
like each other, so what'll happen is this will slip off of this.
You use your cross-contours to measure. Here's the nose; here's the mouth; lower
lip; down. Her chin's going to be way down here. So that's where the cross-contours
are really important. They help you refine your measuring. For many years, I used
to do that on the people. So I would walk up to the models and feel their bodies as
I would do my measuring. I'm a little tired of being arrested and getting hit, so I now
do that with my eyes.
So, this is the rhythm chart that's in the head-drawing videos. Briefly, the
top one right here is the upper cranium, orbicularis oculi, levator nasi, nasi,
orbicularis oris, depressor, risorius, buccinator, zygomatic process. All of
this is discussed in the head-drawing video section. What we're doing right now is
showing you how, by drawing this, you're thinking of the three shapes. We're still
doing the still lifes, but we're showing you how to apply this to many different areas.
Or, as they say in university-speak, [surfer voice] "Dude, it all applies. Get over it."
That's how we speak "University". I've only rapped once in a video. It was horrible.
It's on YouTube. I wish I could learn how to rap. I have this biological distaste for
rap. I just can't deal with it, but it'd be fun to be able to rap in my drawings.
So the eye aligns down the mouth. In the head-drawing section, there will be a time
when I'll reconstruct a face from a skull. Then you'll see how important these
landmarks are. Sort of blocking this in. If she's looking slightly down, the jaw will
go up, because it's a box shape. See, this head is a box shape.
The cheeks will be higher because she's looking down. Start with the eyeball.
Here's where the Florentine school is different from the painting school.
In painting school, you'd be drawing the shapes, but in this school, what you're
going to do is draw over the form. It's a physical thing. And this is round, it's an
eyeball. We call it an eyeball because it's not square. Otherwise you'd call it the eye-
square, which doesn't rhyme when the person says, [surfer] "Dude, you hit me in the eye-
square, man." It just doesn't work. We'll try it again: "Dude, you just poked me in the
eyeball, man!" You see, that works. It flows. "You just nailed me in the eye-square!"
doesn't work. I think that's how you choose anatomy. If it did work with the square, then
we'd all be walking around with square eyes.
...Which would definitely help you if you were looking out of the corner of your eye. It's
easier to find the corner of your eye on a square than on a sphere. Now, look, I'm
looking at you from the corner of my eye, which would be perfect if you had a square eye.
See? Make sense?
"Does your eye hang low?" Look at this. I've got to get in front. Watch. Draw across. Oh my
god, she's related to Igor. So now we've got to raw across. I wonder if she's wearing saggy
pants, too. Here we go. [unintelligible joke about saggy pants] You know what we
should have? Viagra for the pants. Wouldn't that be great? "When the time is right and
your pants are sagging, we have new Viagra for saggy pants." I should offer that to some of my
students when they come in. That'd be great. This Friday, that's what I'm going to do.
Thanks, I never thought of that. A new, really distasteful joke for my new Friday class.
Man, am I changing this pose or what? You can't do that. [kid voice] "Mom,
Sheldon's changing the pose again." "Son, if you change the poses, you're going to
'H-E-L-double-Ls-toothpicks'." "But Mom!" "No, do not change the pose. I'll tell your
father." She's pretty hot, though. "Baby, you be lookin' good with those high cheek-
bones." OK, so that's the lay-in. Back and forth. I'm only thinking shapes; that's it.
Even though I know she has anatomy in here somewhere, I know she has a skull, we're
only thinking shapes. We're going to get a little quiet. We've got the light on this side.
The shadow's on this side, light's coming this way, top of the zygomatic process.
Let's do it. Watch. I'm going to be drawing on the rhythm chart only. The rhythm chart
is anatomy. A lot of artists have taken credit for the rhythm chart. That's fine. They gave
me credit for the Northridge earthquake. I caused the Northridge earthquake. I get
blamed for everything, but not for the rhythm chart. You want to take credit for inventing it,
that's fine – but it was really invented by a guy named Albrecht Dürer. How would you
like to have your name be that? "Oh, you have a beautiful little son. What're you
going to name him?" [harshly] "Al-brecht D-D-Dürer!"" "Would you like some medi-
cation for that, ma'am? Are you gonna call him Al?" [variations on that joke continue]
But – even "Al" did not invent the rhythm chart. It was designed by designers to help
you eat – see, everybody at home, go, [deep voice] "Whoa. Whoa." If you do that, you'll
feel that when you bring your mouth down, your eyes come down. Don't do it too much,
because if it's stuck that way, you'll have to spray your eyes with water because
they'll stay open forever. "Whoa." It's all designed to move and give you a lot of
expressions. We're going to go over a lot of expressions when we're in the anatomy
part of the head drawing. Right now, what I want to do is get lost in my own little world
as much as I can, and hit the rhythm charts, dark and light. Let's see how we do. Light...
Complete rhythm. Procerus, right here. Corrugator. But, again, it's a rhythm.
Rhythm and shapes.
See how it's flowing so far? I'm pretending my pencil is the light, and it's hitting the forms.
Draw the upper lid. Pull it down into the pupil. You'll find in the head-drawing tapes
that the light is opposite the highlight.
Top of the nose. Take an escalator down to the cheek. Come around here to the bottom
of the orbit of the eye. Next rhythm.
Casting a shadow onto the eyeball. Right now, we're casting a shadow from this upper lid onto
the eyeball. I couldn't imagine – how do you draw without thinking of the shapes? The
three shapes? I couldn't imagine going through life that way.
That's right on top of the zygomatic process. And that's a box shape – sculpting. It comes
down and turns into the other – and when you age people, you take these rhythms and pull them
down. That's what we need – a new industry: the Victoria's Secret Push-Up Facial Rhythm Bra.
No, I don't think so. I don't think that would work.
Even the lips are a box shape: there's a little part right there where it catches the light.
You can really feel the fact that she has one of those oranges that, when you were
a kid, you put in your mouth – "Look, mom, orange teeth" – it's right there in her mouth.
You can feel it. They call it the tooth cylinder. Ooh, sounds provocative.
Buccinator. The Arnold Schwarzenegger muscle. Risorius coming across. The Italian rice muscle.
Box shape. Cylinder. Mascara.
When I put my makeup on, I like to leave areas open. I never outline my lips all the
way. I don't like that painted feeling. When my kids were young, I would take
them to get haircuts. While they were getting their hair done, I would sit and read the
magazines in the beauty shops on makeup. Because what do we do as illustrators? We
draw pretty women. So it's a good idea to know how they do it. Read that kind of stuff;
you want to study. What a tough job we have, right? You need to know what makes somebody
attractive. Leave areas open; don't close off all your shapes.
When you see these things side by side, you're going to laugh. She's the same woman,
but I've turned her up. I've got to bring her lips down a little bit, but – in my world,
you've got to be able to move your drawings. I don't get to copy things. I do a lot out of
my head. As the great philosopher Jiminy Cricket said in the wonderful documentary,
Pinocchio – he sang, "Only let the model be your guide." Remember that? [boy voice]
"Look, Father, I'm real. I'm a real boy!" [stern voice] "No, Pinocchio, you're made
of wood." Back to the corner. [boy voice] "Father, I'm real! When I lie, my nose grows!"
"No, if you were a real boy, when you told a lie, something else would grow."
Every stroke is on a rhythm.
OK, I'm going to take a look real quick. Now we're going to hit our cores & casts.
Now we come back in with the white and do the same thing. Putting it together.
[laughs] I turned her into a movie star. Gee, I wonder what they would charge me
to do this to Mona of the Mona Lisa. [sassy voice] "That girl uuuugly!" I've been talking
Leonardo about that. Like, "Dude, I know you were ugly but I think you could've done
better. She was hit with an ugly stick." I kind of glamored her up a little bit. We're
going to put her on a TV show today. OK.
OK, we're going to end the day with some quick sketches. Scribble. Rib cage.
Next step. Rib cage. Arm.
Now, the reason why I'm using the pen is: you want to make sure the technique you're
using can keep up with you. So, when you're doing a quick sketch like this, a lot of thought
goes into what tool you're going to use. Also, I'm working on a vertical surface, so
if I use a pen where the ink has a problem with the gravity, then it runs out; this is
a neat little brush/marker, so I don't really have that problem. But a lot of
times, I'll see artists, students, and they're working with tools that can't keep up with
it. See, watch. They don't keep up with it. As you're drawing, they have to keep
up with you. And you get lost in your work.
You need to go to sketch groups. I haven't been to one for a little while because I
have this appointment I need to go to with my wife every Thursday. She had surgery
and the only appointment they had was Thurs- day, and that's when I go to draw. But when
I go, people know me and they'll make comments, introduce you, but they leave
me alone for the most part. And I put on my headphones and go into another world.
And when the model takes a break, I sit in the corner and study. So while everybody is
walking around, drinking coffee and talking, unless they get me on one of my silly rolls,
which sometimes happens, I usually will sit down in the corner of the room and just
open a book and study. So when I'm studying I'm intense. When I want to
celebrate, when I want to give myself a treat, I study.
This is not a gesture; this is a quick sketch, because it has anatomy, technique, and
everything in it. And that's it.