Transcription not available.

- Our final topic, aviations.
All right, so aviation to me is a kind
of hybrid between marine animal and a bird, right?
You got the wing and now you've got that slick body type
as a fish.
And on top of it we got some mechanical elements.
So it's kind of a couple topic that so far we have done
and guess it's a final finale.
We had to kind of hybrid everything together.
You got like I said feels like a bird and fish
and plus wheels that definitely we have
to also deal with some perspective.
So let's sketch.
And by now you guys should already have some grasp idea
of how this process should go, right?
You probably should somewhat get comfortable
with your tools.
And so first thing, and it's a time just go out and sketch.
And just a concept it's taking just what you learn.
We can do this for life.
You can go to museums and places that you kind of just see.
If something that you interesting like
to sketch my observation, like bring your sketchbook along
with you and try what you learn from these courses.
And I say, if you're kind of freaking out a little bit,
just ask yourself what's the step one, a gesture,
what's two, shapes, and you can just stay
at that for awhile and then if it's something
in certain area like if I loop around the bodies,
it can be somewhat as structural is,
give me sense of structural.
And that will help you to have a plan,
help you have a thought.
For example, you can tell I'm not very good at multitask.
I've been doing this for a long time
and still again, I'm not just born for talk
and then draw and explain and sometimes I would run
into problem myself.
I was trying to explain and the same time trying
to figure it out.
And I know my mentor, my teacher, my good friend,
Steve Huston's really good at it.
I just don't have that sharp able to kind of multitask.
So be because of that I noticed I already make this back
too short, right?
So I think you can see how long the tail is,
but sometimes I might do that just to kind
of just put myself in that tail.
Not in my comfort zone.
And so I maybe just kind of trick my brain
as I'm not super focused.
If I'm not that super focused, what would come out?
What type of drawing I could come out with?
But as long as you know you must make a mistake long
as you know that's too short and it's probably not good
to make too short that's good.
As long as you you know it, I'll move this back.
So what I teach this course is I would tell my students,
I'm not a plane expert.
I know card's a little bit better.
In that case, I probably wanted to make sure some other
like the placement, like the wing.
I'm pretty sure it has reason to be there.
And I don't want to kind of try to be so creative
and try to move it around and ends up maybe somebody
that knows a plane or engineer plane say
that doesn't make sense.
So for me now, again, just about observations,
there's certain thing I can still do.
There're certain perspective I can still push.
I mean, certain connection I probably just leave as it is.
As I put this volume stripes, again,
that's just always helpful.
Taking that cylinder, feel that gesture see how you lift
and then see how that gesture continue.
It is a fluid idea.
It's kind of see how you flow up and kind of slide down.
Then I'm gonna purposely make these rod backs like
way too skinny.
And I also wanted to make sure my line weights,
for example this edge is closer or this edge is closer.
I'll make it darker.
So you got a landing gear about right here
and there's another one looks like it's about right here.
I can box it out first.
That's another right here.
All right, let's look at it on a picture.
All right, so gestures.
This right outta bed has some perspective
because get that tail sits on symmetrically bigger shapes.
I see the little bed, the front carpet window right here.
And then the wings kind of takes over
so it's a (indistinct).
So I'm gonna just basically get that wing right away.
It almost feels like this wing size
slightly curvature on the shadow.
And as you guys know a light curve in turn to kind
of show gestures, show the feel of kind
of organic quality to us.
I always like to implement that in my drawings.
I'm gonna curve a little bit.
I use this to take me to that, looks like little opening.
Here we go, that's where the tail is.
That's about the right place, right?
'Cause that's the way at the end of it.
So it's again, just kind of lucky to have had to,
I think sometime if my like comparison's correct,
like things I'm looking for and then sometimes again,
I'm kind of I already did a motor vehicle lesson
so I guess my eyes kind of warm up
and in that case sometime actually I can kind
of capture the proportion pretty well means I can jump
around and sometime when at the end,
everything will still puzzle together which just
that it's anyway pretty satisfying
'cause you don't need to kind of try to fight
and keep searching both.
And even you have to correct, like someone
decide to correct.
You probably still have to correct.
It's not gonna be super smooth, but it's just gonna be
more minimal things that usually kind
of just ends out the way that to close your reference.
But I still think about how can you exaggerate though?
I'm gonna push this bigger.
Looks like there's an auto cockpit right here.
So now, for things to farther away I'm definitely using
side where if I need a very fine line,
I'm using a side of my pen.
At this time like I said, look, at this moment
the pen works out perfectly.
You can see it just gimme a such a great like clean
and clean lightweight.
Again, always good to box it out first.
And make this one a little bit bigger,
put that wheel more closer to the front.
Yeah, let's look at it on a picture.
So I prefer you guys to sketch a lot means usually during
the class sections, I teach the class during
the class section as students just sketch.
I don't want you guys take into a rendering steps.
You can do that for your homework 'cause
you can have one drawing that has more refined drawings
that has a focal point.
To me, again, making drawing look more polished,
more rendered just about how much time you put into.
More time you have, it's gonna make it all nice and pretty.
I know you guys can do it, I know,
but that's not the concept of this class.
Just wanna basically understand how do you analyze,
how do you break things down?
And so that way, I rather you guys just sketch a lot,
get to familiar with the process
and then you can later like I said you can able
to do this either out of your head
or if on reference like comfortably know exactly
what you are.
And even by looking at the reference,
you know like what you're trying to get out of it.
In this case, I'm just gonna zoom in that propeller,
that jet engine right there because it got some
perspective going on.
Actually, perspective you guys already know.
I would even talked about it's ellipse again on more ellipse
and ellipse in the barrel, right?
So within the barrel and then here's the center line.
You got another little dark on top of it.
So it looks like this kind of drop comes over
and turns down.
This looks pretty full too.
And looks like go to the back and you got another step
out drawing through.
Here's the center line.
That's where the propeller's coming out.
Get the perspective drawing.
We can repeat ellipse.
And again, if you are more standing over here,
you're gonna see less on the top, right?
Less on top.
You see more on this side facing to you.
You can darker this edge.
I wanna show this is in the front.
That's like an inner volume exercise we did
because you feel like with all the jet engines sits
inside this barrel, it can bring some line back in.
I feel like it goes into that space.
But that's good to have a zoom in.
And that's kind of why I chose that picture.

- All right, now it goes,
the image has a deeper perspective.
Let's switch to the back side.
And that's the thing,
exciting part about drawing a plane,
because now you got the different eye level.
The eye level can be various,
and not like a car.
The car usually get the higher eye level,
and this is more like fish and bird.
So feel that center line,
get that dome shape of the,
where the nose of the plane,
it drops.
Oh, should drop back a little bit more.
And then swing back.
Just keep it clean.
See how naturally I'm just turning my paper,
'cause I just know what's a comfortable form
for me to come out with the clean lines.
Check this distance.
See where the cockpit is.
This part drops,
it looks like drawing a whistle,
digging out from the side of a tube.
So like this,
it's drawing a whistle digging out the side of a tube.
And this logic works exactly same as you
drawing a profile view of a person's head
where the eye socket sits.
Let's say if we're looking at on the top
of someone's profile on top of a person's head,
let me actually go this way.
So actually what you do is again,
dig out a hole on the side of the cylinder,
while we're looking at the top,
so it probably is gonna be like this.
All right?
And what happen is your eyeball, let's draw up a ball,
which is your eyeball inside this, the socket.
Now we know here it's about
where the eyebrow is.
That also lines up with your ear.
And if you look, here is your forehead,
your nose.
All right?
So same idea.
Same idea, exact same idea.
So I'm here, I'm gonna
come here and just dig
and just loop around, it goes in,
flip over like this.
The back side
is gonna be slightly smaller
and also a little bit,
the drop, make it a little bit less concave.
And looks like the wing is about right here.
Take all the way about where that down plane,
where the edge is.
Where that wing ends,
I can base a line diagonally.
Looks like it's about right here,
so I'm probably running out of room.
Good.
And the other wings extend the drawing through.
You gotta draw through, otherwise,
if they off alignment,
it's not gonna look right.
And when you, and this could happen when you,
sometime your drawing ends up to be cropped.
It needs to, probably needs to be cropped
'cause it just wouldn't fit,
the proportions just wouldn't fit.
And don't try to squeeze it in.
I have seen so many times people trying to, you know
trying to squeeze in because they feel they need to.
And that ends up the proportion just feel off
or the page feels cramped.
So if the end result it has to be cropped, it's, you know,
the subjects, like I said, it's too large,
just literally crop.
Just crop it off.
Don't try to force it in.
It probably ends up, like I said,
you do that, you probably end up
screwing up your proportions.
Always compare, sit back.
Even when you're doing smaller detail, sit back.
How can that help to, either way, really force perspective
or push the angle of the gestures?
The long one should be darker.
I also mentioned, I always go with straight first,
and then when you have straight, the other side will be,
it will be more curved or in this case, somewhat chiseled.
I'm gonna make this thicker. Close to you, it's thicker.
You have to be a little more careful,
pay a little bit of attention.
So it looks like landing gear sits about right here, right?
Slightly before in front of that lower wing.
And so far, like I said, everything, again,
it all kind of works nicely together.
So that's great.
And...
You know, when I go,
if I want to shade it, I can go.
I'll probably use a marker and
I think my proportion looks pretty solid.
Then I can maybe play with the design
and the shading part of it because overall, you know,
like I was saying earlier, I don't know the plane that well
but now seeing the proportion all fall into place
I know probably the,
also mechanically probably will work and that way,
so when I design shadow shapes,
all that make it a little bit more interesting,
more shape, you know,
play with the gesture of shapes or harmony of a shape.
You probably overall wouldn't hurt with the, like I say,
wouldn't make the plane look like not usable.
So as I marker, see how I have this,
also have this kind of diagonal
kind of gradation like shadings.
Chop all that.
The highlights.
So one other thing about
drawing a more reflective surface.
This is not super reflective,
but you probably will sometime run
into more shinier surface,
especially when you're doing mechanical, like, subject.
So lastly, you have two type of transition in that corner.
You have more rounder ones, one nice thing,
a plane has more rounder.
And the other one's more box here.
Well, your first thing, you core shadow,
it's always gonna be in a corner,
but for these rounder corners,
your core shadow, it's gonna sit slightly lower.
And then it's gonna actually manifest,
it's gonna be softer.
Versus the sharper corner,
your core shadow gonna sit right at the corner.
Very sharp.
Very firm, very dark.
And you highlight will also
butt right against the darker corner, for shinier surface.
Versus the rounder surface,
you have a slightly little more of a halftone.
So I can put the highlight right at the core.
All right, let's look at another one.
Overall gesture, overall shape and then chisel,
finding some straights.
So I now use that front end,
just a little bit of front end with that cockpit,
just give me a sense of where that top plane is
because actually this, when you have a plane,
do you have to know where exactly the edge leads you to?
You can leads you all the way to back of subject
and also leads you all the way to the front.
So that tells me everything here to here
to here is all the top plane.
So if you know that it's gonna, you know,
affect the shadows.
Help you to know what you, how you would shade.
Compare diagonally.
Corner, highlights, side plane.
Take that, drawing through.
Can gesture, shape, you can design it.
Right now, let's say I don't care about if it's gonna work,
just purely aesthetics or aesthetics.
I'm just gonna play with the shapes.
Same as car, add some of that abstract interior shape,
chop the interior shapes.
Our angle just core shadow a little bit.
You feel like you're looking at the front front end
a little bit more.
And that can also do this.
Just give a...
I'm just gonna make the back end darker
to give that gradation.
I run a nice long highlights.
Can give you that, show you where that corner
gonna connect the, also connect the overall.
Here probably gonna be most stronger highlight
and then give you sense of where that corner.
Clean up.
All right.
Let's take a break.

- All right, so that's I did like, um,
so far I did a lot of it.
A lot of propeller, like front propeller,
more of, a, older planes.
Now let's, let's do some more
of a, I guess, of a modern planes.
Right now, again, I try to get that almost looks like
a little, you know, a little dog muzzle.
You can see here's a muzzle, here's the nose.
And so when I put that, put that, that little strips,
it feels, it can feel where that top plane is.
And here the center line, and then just go over on the top.
So on the profile, this plane
obviously looks like has a little, has a, um,
the front end has a drop to it.
And then the top that looks like the uh,
the tails fixed on the top.
Like that.
So you have the road window, uh, sits on the side
as I mentioned before.
See everything beside it had worked two things
the gesture and perspective.
So I'm gonna put this window, as long as you put this window
have a sense.
See how they flow this way?
And even like I said, in this case,
even smaller when it goes toward the back.
See, I'm just going to angle this up, you really feel
like it curves, um, towards the um, the division point.
So I'm gonna look at this,
this is where the, um,
that like the shaft up where, they um,
connect to the tail, and you got this
little looks like a, bosom.
Those are weapons that they can shoot out multiple missiles.
I when to get, just basically the negative space,
and then I just go with a flat tube.
What I don't see the other side,
I'm just going to put it in,
for composition purposes.
And it helped bring out the front of the window.
Box it out.
That was number six, this is number four.
And I'm again, I'm gonna just paint,
brush over through it.
Back to that the landscape,
you have to be pretty clear,
no matter what you do, when you start shade,
when you start paint, you got to be very clear
where that three has value.
It sometimes could be four.
These four, those four values have to be pretty clear.
This that can be highlights too.
Be pretty clear where, where they are at.
Otherwise you will have too many values that
that's when, you know, when your design will look scattered.
Sometimes, sometimes the halftone
can get confused as a highlight.
But then, just, just sit and ask yourself,
where's the lightest light?
Just look, is there somewhere else that lighter light?
If there is, that means that's not a light side.
That's that's, that's a halftone.
Seeing their light was hitting
at that corner of that windshield,
I'm gonna make here the brightest,
and it's going to fade into the back.
Oh we got a helicopter, here you go.
Drawing through, anytime when I draw a curve,
I tend to draw through.
Although this might be, I think not, although this sides
flat but I still kind of draw through it,
cause I some, um,
sometimes you never know it might, it might
it might, there might be a sphere underneath it,
that might help you get a sense of volumes.
It just works out a little better, this way.
This is an interesting shape, it looks like this.
All right, so you can see, by understanding
as geometric shape where the light shows come from what,
from this side?
See, that's the way the shadow.
I'm just going to take that, bring over here.
So this goes over, they have little like, looks like a um,
also looks like a hub coming over.
Higher, a little bit above, over to the uh, windshield.
And,
like that.
Launch anytime when you draw any strips, shapes,
always keep in mind, make the sizes uneven
thinner, thicker, thicker, thinner, thicker.
All right.
So this looks like, I can just leave it like this actually.
Um, and you can see how it's, uh, developed from,
I had,
well I usually start from easy, most direct area first,
and then first thing I, I saw, which is this flat bottom.
I just put a line there.
But I wasn't quite sure
how I'm going to divide that front end.
Cause it's just a bigger round, um,
kind of the head.
So I that's why I was drawing that ball shape
and slowly carve out,
and it take me to where the top of the head.
Then once I get to this, and every, and then
and the back end kind of went pretty clean.
So I just kind of draw, get that whole, get that shape.
And, and, but that was still, like I said,
in turn was just too was just two dimensional shape.
And as soon as I get the front end front end
of the, the, the windshield, the width
I know I can see it right where all the, the top,
the front planes of this plane.

All right, we're coming to the end.
Got a couple more, just a few more pictures.
All right.
Here the fighter jet right here.
Usually they have a pretty aggressive pose.
Again, we're looking slightly below, right?
So it's not a perfect, perfect cone.
We are a little more at the bottom.
I can see a core shadow runs right here.
So it can show us where that bottom plane is.
I can check it this.
And I want to feel more of looking from below I'm going to raise this up.
That's going to help take me to the, to that.
And we're going to angle this down pretty, pretty, pretty, pretty angular.
So can help feel like more aerodynamic and also helped to feel like we - help
us to feel we're looking down more.
Well, I think, I think that sounds like fighter jet just flew over our building.
When a crew members here say we got some sound effect, maybe some of
that sound effect for this lesson.
Well, you guys probably wouldn't hear it because they - what'd they call it?
They can edit it out.
So I'm going to actually going to bring this missile out this way a little bit.
I want to switch to this.
Again, we're looking at a perspective that kind of radiate out like this.
So I'm going to come out and make, make that missile coming out so
looking slightly foreshortened.
Alright, that brought me another point.
So how do you make - you know such subject feel foreshortened.
I think we did mentioned before when I talk about the apex.
So I hope I did.
But anyway, so a lot of time when we're looking at a curve form, especially
curve form, even when you drawing the straights, you can look at it like think
about we can look at the human arm, when a human arm extending straight down
it seems pretty, pretty pretty flat and pretty, you know, pretty straight,
but when the arm is coming towards you, right, very kind of, kind of
right in front of you, you're going to start feeling a little bit curved.
So, so that, that's kind of also the case and so
two things, scale difference and also where you put the apex.
Well, the easy way to explain it is I said we have a landscape,
a row, pathway going back.
And we have all this like a fence pole, like the water the little, you know,
you know, little fence to allow - to prevent like I said in the countryside
to prevent all the cattle's escape.
So you'd probably see
about fence lines out like this, right?
So what happened the first thing we know the scale's different, the pole
is longer coming towards us and also the distance between them, right?
So if we are taking for example this, you know, this missile,
missile, we're looking at a profile.
Just say it looks like, like, let's say it looks like this.
So it has an apex.
Let's take this bullet and bring it over towards us.
So, two thing is first,
the back end probably ends up going to feel smaller, the front
end is going to feel wider.
Right?
Right.
And also I'm going to put this as I'm not quite done it yet.
Right now feel the volume because these stripes and I'm going to actually put
this apex further back a little bit,
put it further back and bring it like this.
That allo will help feel like this thing is coming towards us,
not just the structure itself shadow can do it that too.
A lot of time when we're looking underneath a structure
of maybe coming towards us.
See how the back come feel it coming toward us and by - but if you look at
actually the shadow under the - that happened on planes fishes, human body, for
example, like arm and looking underneath, underneath the arm this actually a
upper arm, a forearom?
Here's your, here's the, like I said the fist.
You will see shadows.
Here's the armpit, right.
We will actually see shadow doing this.
See when it go taper to the armpit coming close to.
Like that, right?
So you can feel it coming out towards us.
So all these all this can definitely help to kind of re, you know,
reinforce that perspective.
Let's just say this leg also this leg comes up towards us.
Usually see the nice stretch long curve of the thigh.
And it goes into the kneecap here's a knee.
What we can do is like I was showing you here, instead do it like a
quick sweeping surve, we can stop
and the apex right here, and that brings this one longer.
That way you see how it will help to feel, also help to bring that forward, bring,
to bring that thigh forward a little bit.
Then the shadow width, wide the shadow width right here.
Be clear - again be clear where your shadow, half tone, and highlight.
We can pump into super dark.
We can add another super light, but they all it's set up for it.
I know exactly if I want to go darker I know it has to go down this way.
If I want to go light, I know it has to go up that way.
Let's do a last one.
Let's do this - let's draw this.
We haven't done a backside and let's just do this.
[Indistinct] with our marker.
What else haven't we done?
Oh ballpoint.
The last drawing let's think what do something to - with a
ballpoint, maybe add marker over it.
Let's try it out.
See the actual angle is up.
See these all lines up, looks through this head and come over.
See what I need to do I need to check this distance.
So already have the front edge shorter and the back end a little bit longer.
Always checking diagonally right now we use in ballpoint feel like
a little more actually relaxed.
Okay.
Okay.
And drawing over.
Find the design the best shape you can - I can come out with.
Oh and sometimes I'll do
- maybe not so work so with the liner.
It's like, I, I don't lift my pen.
I keep my pen on the paper.
I can just keep drawing it through, over,
again searching for that right, like right shape.S feeling every, every mark
I make it relates to somewhere else.
So you coming down, going up, coming this way, I'll come over
here and I'll draw the other wheel.
All right, let's mark it over it.
Try different stuff to see what happened.
Maybe you can somehow feel these, the scene of the, the, the panel.
Let's just see.
Let's put another plane.
Okay.
Remember, all of these dark is for what, is for connecting.
Little like little music notes.
It take you for it's like, it's like, take you a certain melody.
Up and down, loud and quiet.
I think probably my actually thinking about composition and
cause my drawing is quite large.
I have other feelings or some environments around it.
So I think I'm thinking the balance of my, you know, my, you know, my
positive space versus my negative space.
I think probably it would look better if, if I make the shadow
wider or just what happening, if I curve the shadows like this.
I have a ballpoint.
My marker.
Now I'm using my liner to finish it up.
Just to clean up.
Just some of the details.
Kind of like the painting week we did.
Throw the gouache demo and throw a bunch paints, at one point,
probably doesn't look like anything.
And at one point probably looks like this is not going to turn out, but
like I said, you know, stick with it.
And also, as I mentioned before, stick with it, as long as you can.
Most of the time, I can tell you most of the time you will get,
get out of it and you're going to create something that's wonderful.
Even if you're not, as I said, it's what the journey counts, as
long as you learn something from it and you take that to your next
either, you know, you learn something new from either good or bad.
It means what's worked, what's not work - working.
You're going to take that to next, you know, next project.
But what you don't want to do is not do anything at all.
Right?
If, if there's something that you choose that you kind of know maybe
also wishing you can, you know, have the, you know, the skill from any of
our New Masters teachers here okay, painting, like, you know, painting,
drawing, sketch, design, whatever.
You just have to really put the knowledge to it.
And it takes, it takes hard work.
It takes consistency, it takes, it takes hard work.
And I can guarantee you if you do that and then
you can definitely having - I can promise you're having fun.
I'm still, I'm still all, I'm doing this for, for a long time nut I'm
still luckily I'm still enjoying it.
That's why I'm here to share my passion with you.
And at the same time I'm still learning, just like all of you guys.
And so
I wish you guys all well and this is it, this is, this is one of the
lesson that has so many requests for.
And thank you for all of you guys for requesting and, you know, spending
this what 12 sections with me.
I appreciate that.

You know, if you want to know what final assignment is going to be is
again, go draw a more pages of, of aviations what, in any plane, anything
that's that's flies, the machine that's mechanically that flies.
You can do, you can do - I love drawing spaceships and stuff.
That will be fun to do too.
So eight pages or that.
You can draw from life, go to plane museum and draw from thjat.
Some of those are tricky, because they are so big.
About that also, if you don't have the assets to, you know,
maybe where you live, doesn't have assets to some of these museums
drawing from photo is totally fine.
You know, it's not cheating it, you know, I'm teaching for the past year
and a half I've be teaching strictly just from photo reference and stull
the students got so much out of it.
Plus I, to me actually works out better because it's, I can explain easier, it can
give them the message across easier versus you know, some of these drawing from life.
There's so many other scenarios that makes it a little bit tougher.
Things could be moving around, life wakes up for example like animals been moving
around, it's really hard to draw them, the plane is a massive, massive scale and
trying to reduce down to smaller size.
And that can be, that can be challenging to weather, right?
People gathering behind you and like chatting like, usually they're
pretty good about that usually are complimenting, but sometimes you just
want to like, you know, you know, kind of be yourself, focusing on what you do.
So there's all this, all these factors.
And working from photo reference and, and don't need to worry about that.
Sketchbook, it's a crucial, it's a very crucial companion
as an artist you got to have.
You need to have several, always carry one with you no matter what.
All right.
I think this is it.
And and again, thank you.
Thank you all for staying with me.
All right.

Transcription not available.

Congratulations, you guys did it.
Make sure to make those marks in your sketchbook because you don't just,
you can't just watch the videos and not do, you know, you got to put the
effort in there and then you can watch the video over and over it again.
And I will do that.
And then you can play the video along and on the side and just sketch with me.
All right.
So if you run into an issue in certain courses and just say your
sketch didn't turn out the way you, you know, you like, stick with it.
Because everybody makes a bad mark and I do too.
I make - I've made so many bad sketches, but the most important
it's it's about the process.
All right.
Cause every bad drawing, I can guarantee you, there's a little
percentage that you did well, and that's, what's, that's what you gain.
And that's very important.
So I'd rather you do a lot of bad sketches and like I said, and gain incrementally.
But at the end you will still going to be a better artist than yesterday.
All right.
So it;s that, it's that repetition, that consistency and that's most important.
All right.
Good luck.
I can't wait to see what you guys made.
I'll see you guys next time.