- Lesson details
In this series, instructor Sheldon Borenstein shares with you his approach to figure drawing. Sheldon will cover Construction in this second lesson, using a variety of methods to help you learn, including a fun lecture, multiple drawing demonstrations, an analysis of Old Master works, and a figure drawing assignment.
- Handmade Lead Holders with Cretacolor Leads
- Faber-Castell Pitt Pastel Pencil – Light Ultramarine, Cobalt Blue, Burnt Ochre, Chromium Green Opaque
- Sharpie Peel-Off China Markers – Black and Red
- Pelikan Souverän Fountain Pen
- Pentel Pocket Brush Pen
- Drawing Paper
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down. The structure in the drawing is a really crucial part of the whole process. If a little
bit is off, it doesn’t work. If the structure doesn’t work it’s just wallpaper on no
wall; you lean on it and it falls through.
We’re going to lecture for you. We’re going to demo for you. We’re going to reference
it back to the Renaissance, to history. You’re going to have some timed drawings. You’re
going to be able to draw from them. After you’re done, I’m going to draw them for you.
Are you ready? I’m going to show you structure as it pertains to your drawing. Let’s do it!
makes it stiff. But, before we get into the lesson, I always like to give you guys a little
bit of philosophy. There is a lot of discussion that goes on especially now with the internet.
You know, that internet thing, you know, that’s going on out there, where everybody can have
a voice and no face, which is an incredible new device.
It’s good and it’s bad at the same time.
So, one of the things I want to make clear is there is a lot of discussion about light
and painting and tone. It really comes down to a very simple thing to happen about three
weeks ago. I was trying to find a buddy of mine. Her name was Julie, and we were in a
dark room, and there were other people in the room. I’m like, “Julie! Where are
you? Julie? No, not Julie. Julie?” Not Julie, but interesting. Then I went, “Julie? Hi,
Julie.” You could recognize the forms, right? You could recognize the shapes but there was
no light. Light falls on form. If you don’t have form you don’t have shadows. I really
believe I am as good looking as Brad Pitt and all these other guys out there, and people
always call me Tom. What we’re doing right now in this part of the drawings is we’re
going to work on the form.
The separation of drawing and painting I think is probably one of the biggest issues that
continues to plague the modern artist as it did back when I was a kid back in the Renaissance
studying with all the old guys. Remember, you can’t separate these things. But so
many of students are learning to paint first and their light is not falling on form. It’s
kind of Chinese food. I don’t know if you guys like Chinese food. We all go to the movies
and eat Chinese food. It’s a tradition. There are different menu items. You have Moo
Shu chicken, Moo Shu pork, and mushy drawing. Mushy drawing is a drawing that’s without
structure. Then the structure just slows it down. What happened to my drawing? It’s
stiff. Yeah, it’s structure. The construction it can get pretty complicated. So as Leo with
the masters, he said learn all your anatomy, and then just break it down into the three
shapes. Circle, box, and cylinder. There is your box, and there is your cylinder.
Oh man, speaking of the devil. Do you mind if I take this call? It’s been a while.
It’s Leo. Hold on one second, okay? Hold on. Leo! Hey, I can hardly hear you. Okay,
so now we’re going to do the structure. What Leo wants you guys to understand—hold
on a second, Leo, okay. It’s only three shapes. What Leo is talking about is it doesn’t
have to be just a circle. You can vary the shape slightly, but it has to fit. In the
beginning when they first started out all their stuff was so flat, and then they discovered
the cross-contours. They really discovered drawing round. So he wants you to—hold on,
Leo. He wants you to understand that when you’re doing that construction, that solid
round drawing, fitting together is so crucially important.
Okay, I told them about the cross-contours. I told them about the shapes. They know the
story is the most important. What Leo wants me to do is to go down the entire figure and
show you how it’s structured only with shape. That’s going to be just the shapes and the
forms. Then once we get through all of that, then we’re going to put the muscles on top
of it. What it’s going to do is it’s kind of put us through the back window. We’re
going to kind of sneak up on the drawing. It’s going to stiffen up the drawing on
the structure side, but when we put that anatomy back in it’s going to loosen everything
up. Then we’re going to put the technique on top of that. We’ll talk later on. Hey
man, be good. Alright, I’ll talk to you later. Okay, bye.
Do you understand what Leo’s talking about? When you’re modeling on the computer and
you’re building, whether it be Maya or 3DS Max or Sketch-Up, you are doing exactly what
was done in the Renaissance. It is the fitting together of three-dimensional objects. That
thing that is more important though is this cross-contour. Now it is solid.
So what I want you guys to do when you’re hanging around is just play. Okay, let’s
say I have a salt shaker. That’s the graphic space that the salt shaker takes place in.
Then I’m going to draw a center line, and then I’m going to start wrapping around.
Now, in Maya you’re doing shapes, and you’re putting in these things called edge loops,
and they give you these things that allow you to play with. So many of you out there
are starting in digital and then moving into the traditional. Then you have people like
me who start with traditional but now live in the digital. They are the same. A lot of
the schools out there get it and some of them don’t, and those are the ones that are frustrating.
They think they can buy another computer and that’s what’s going to make it happen,
and it won’t. It won’t.
But, now what happens is when I wrap around and I put in those cross-contours in the digital
world that’s given me a vertex. Those are these little dots, and this is the most important
you’re going to learn today. These little dots, I can take a handle and pull it, and
then I can move and adjust my shape. That’s what we’re going to do today. We’re going
to start with these basic shapes, and then we’re going to add and we’re going to
sculpt. I can take and put in cross contours all over this thing, which are edge loops.
I can take these little verts, these little dots, and I can move them down just like that.
Then what’ll happen is I now have a salt shaker that looks like that. It’s identical
to what we are doing in the Renaissance. The more you understand this,
the better you’re going to do.
Now, if we bring in our little buddy here, who has been hanging out with me while we’re
going the lecture, you’re going to find that we have forms. So here we go. Look at
this stuff. It’s solid and it fits. This arm fits inside this shoulder. Everything
fits. The notches, it fits together. If it doesn’t you’re going to have some really
unhappy people. This poor thing is going to walk down the street and the arm is going
to fall off. It’s embarrassing to have to say, hey yo, where’s my arm? Give it back.
So, we’ve got to make sure that all of these solid parts fit together. What’s going to
happen as we start moving into our structure is we’re going to add an arm with a scapula,
the leg with the pelvis. We’re going to start grouping it together,
and I’m going to show you.
Now, what you’re going to find is we’re going to go back, and you’re going to do
your structure, right? So, let’s say we’ll do a back view, so do our story back.
Check your proportions. Are your proportions working? That’s all you really need. Then on top
of this you’re going to put in your shapes. We’re going to build. You’re going to
see that there is a rib cage shape, so if I say to you that we’re going to come up
with a mannequin this seems to work, you’re going to come up with your own. That’s important
that you find your own shapes. We’re going to find a shape for the rib cage, a shape
for the pelvis. Notice how there is a gap between the two. Let them float. Take a look
at that and listen to what I’m going to say you. It’s very important. You’re going
to find that I repeat myself a lot. It’s planned. I remember walking into my teacher’s
classroom. Let me show you something, Sheldon. And he would show me this. I said, Glenn,
I haven’t seen that since yesterday. He called me young Sheldon. Now watch. He would
do something so amazing with it, it would just blow my mind. So, when you start hearing
the same story over and over again. Focus. It’s for a reason.
Again, I want these things floating. Do not connect the shapes. We’ll do that later.
Then we’re going to structure. Shape. Scribble for a story, shape for design, cross-contour
for form. Shape, form. Form will tell me the direction. You can mix it up. A circle and
a box. See that? Make it come towards us. So we go like this. Shape which is what we
discussed, our drawing hieroglyphic, which we’ll be getting into more today. Then we
have form. Form will give us those cross-contours which are edge loops, which will bring it
towards us. But the box is absolute, and there is your box. Bingo. There we go.
Okay, this is our base construction. The next thing is going to be to put in the secondary
shapes. That’s how everything is going to fit together. We want to be able to group
things together. Don’t just get an arm. Supersize. Don’t just go for the legs. Supersize!
Get the but, right? Pull it together. That’s where you’re going to find that by adding
the scapula, just another shape can pull this together. See, to combine these two together
it’s just a Cal-State cool, opposing curves. Make sure they’re opposing since it goes
like that and goes like that. Cross-contour would give us an erector spinae muscle, sacrospinalis.
Get your arms around it. Get your hands around it. Feel it.
One of the things that we haven’t discussed, and it’s really important, and then I’m
going to finish this up and draw for you guys. Listen up, listen up! How many of you guys
go to a mall? They even have those in Kansas. So when you go to the mall there are two distinct,
different pretzel places. You have your Pretzel Time, your Pretzel Euphoria, your Pretzel
Put On 30 Pounds-by the Time You Get to Your Car. But then there is the one that is where
we get to hang out as artists. You want to wait in long lines. That’s called Pretzel
Spot. Now, Pretzel Spot has a very distinct slogan: Pretzel Spot is Hot. Now, the thing
about Pretzel Spot is that the people who hang out there, they don’t eat the pretzels.
As artists, what you want to do is you stand behind them and you feel their forms. Don’t
worry, they love it. They’re not going to spend 10 billion years in a gym without being
admired. What you do is you take your fingers and you run it over their forms. Pretzel Spot
is hot, and that’s where the people get admired. That’s where they sit, and they
stand in line like this, you know, really fun.
So, now we’re in line at Pretzel Spot, and what you’re going to do is you’re going
to run your fingers over their forms. Don’t worry, they love it. Okay, it’s really cool.
If you do this at Pretzel Time or those other places, you’re going to get arrested, but
at Pretzel Spot, Pretzel Spot is hot. You want to see how the things fit. Take your
fingers and run it under the forms. It gets a little bit awkward down here at the gluteal
band, but you know, I guess the certain ones don’t mind. You come down here and see how
this fits. Here’s your gluteal band, right? It’s kind of fun. You see how does this
fit, and you run your fingers the forms, and it really makes it solid, but we want to feel
our drawings. That’s the whole idea.
So, we’re not just doing this so that we can feel up the people, and we can do that
anywhere. We want to go there so we can see how the things fit together. To do that we
need to get perfect bodies. For me, it’s simple. If I want to see a perfect body, I
just have to take a shower. It’s not that difficult. But, you know, for some of you,
you don’t have the same luxury I have in owning one, and so you have to go find it.
So now we’re going to go here. You’re going to wrap this around, wrap around, wrap
around. We should have one just for zebras because they have really cool cross-contours.
Now what you’re going to have is these beautiful rhythms. Then the gesture comes back in. Notice
how stiff it is until you put in the anatomy. It’s really cool. We’ve got anatomy, all
my brothers, sisters, and me. You build it. You build the figure. You build it. You make
it solid because you’re going to have to turn it. To do that, you’ve got to draw
over it. Put it 10 million-billion cross-contours. Now look, I went this way. Wrong! Wrong, the
leg is going back, and that’s being told to me by this box shape. You rub it out and
you go this way.
Okay, in the end they’re just simple shapes because everything is made of simple shapes,
the shape of an arm is a box. The shape of a forearm is a cylinder box, and a box a sphere.
So that’s what we’re going to do now. I’m going to demo for you because, again,
this is a visual thing. Every teacher must demo, and let me tell you a little secret;
I’m going to just pull photos to work from. You’ll be able to see the models as I’m
demoing. When your teachers are demoing, and they pull out some image to draw from, say,
oh, that’s really cool. But, can you draw that one? We want to make sure that you’re
seeing the teacher sweat. If you’ve been doing the same thing over and over and over
again, it gets really simple. What we want are stuff that really shows the process. And
when you’re drawing something almost for the first time you’ve really got to do it.
That’s what I’m going to do for you today. I’m just going to grab a handful of models.
Not the physical ones, because that would be a Pretzel Spot. Don’t grab models unless
it’s at Pretzel Spot because you’re going to find yourself getting hit and arrested.
I’m just going to take arbitrary models, and I’m going to sweat. I’m going to really
give it all I’ve got. You’ll see the process.
I use the same tools all the time. The Pitt Pastel, and it’s made by Faber-Castell.
Just use whatever colors you want. When I go to the dark, don’t freak out. These are
just lead holders. The lead is the Cretacolor, and those can be purchased at any art supply
store. We’re going to start now on drawing the human head, and we’re only going to
do structure. Here we go.
The first thing you’re going to need to learn, and we’re going to be covering this
a lot, is a rhythm chart. You’re going to see me do it because it’s part of the lay-in.
The rhythm chart goes all the way back to the 1500s with a guy named Albrecht Durer.
Can you imagine having somebody name their kid Albrecht? Albrecht, get it in the house.
But, then again, they named me Sheldon. I guess it’s not too—I guess I can’t complain.
Okay, so here we go. We’re going to do a center line here. The eyes are halfway. From
the top of the head to the bottom of the chin, the eyes are halfway. The nose is halfway
between the eyes and the chin. It’s the bottom of the nose. The mouth between the
bottom of the nose and the bottom of the chin is halfway. Most people, unless there is something
really strange going on are only 20% different than anybody else. If we can just get these,
just a base figure down, what you’re going to find is you can draw anybody. That’s
really important for you guys to understand. The first rhythm is going to be right here,
this very front, and that’s going to go across to where the face turns. Boom. Up,
down. That’s where it turns right there. But what does it for us is this rhythm, and
it goes into the eye socket right there. This, right here, is where the face turns. That
will be where your eyebrow peaks right there. Okay, so that’s your first rhythm.
The second one is going to be another circle right here, and this is where the nose connects
to the face. Okay, so you can see how we’re stepping across the top of the nose. It comes
down right here. Then it hits the front of the face right there. There is another one,
which is here. That’s for the mouth. We’ll dot the muscles later. Right now it’s just
structure. Then there is a half right here. That will take you to your chin. The mouth
stops right at the center of the eye right there. Okay, so we’ve got that. Now, we’re
going to take a line from the chin, go past the mouth, over the top of the ear. The ear
goes from the top of the brow to the bottom of the nose.
The end of the jaw lines up with the corner of the mouth.
The top of the nose goes up and into the eyebrow. There is the bottom of the nose.
Okay, then we’re going to do a cross-contour. I’m going to come up.
End of the lip to the lower lip and down.
Connecting to the face right there.
They have this big rhythm coming around this way.
You’ll notice how this rhythm here hits your cheekbone.
This is structure. This is here, but the rhythm part comes inside that structure. As soon
as one line overlaps or fits into another line like here, that’s structure. We can
come this way, coming down, and this chin fits inside. This is structure right there.
So if I have a line that goes like this. Let’s put it right here, and this fits inside like
that, that is the definite of structure. Okay, so now you guys can kind of get clear on that.
This comes down, and it fits into the philtrum, which then goes into the lips. That’s your structure.
The nasolabial fold coming in here. This is structure. The mouth fitting in to
this round muscle here—we’re not going to talk muscles yet. We’re going to do that
next time. That is structure.
But the first thing, most important, is the rhythm chart.
Take a look at that real quick.
I think what you’re going to find is that structure is
a lot like sculpting. Everything has to fit. It’s just sculpting on a 2D surface.
and we’re going to put in our gesture. Now, when I put in my gesture, notice, see that
rhythm chart that I was showing you, all these circles. See all these, you guys? This is
going to become like your writing. It’s got a rhythm to it. You’re going to this
way. You can go proportions, and you go across. Watch. I’m going to go like this. That’s
the eye ridge. This is a rhythm. As I go like this I go across over the eye ridge, down
the side of the nose, under the nose, around the mouth, under the mouth, chin. Now we’re
starting to get somewhere where we’re going to start using a lot of information abbreviated.
I talk with my hands so you can see it, and pulling it together so that the drawing becomes
your tool. Then we’re going to go up and down. It’s pretty wild.
This I think is going to be one of the most important parts of this lesson. If you do
it mechanical, and you do it like you’re an engineer, it’s going to look mechanical
and like it’s an engineer. In this case we’re going to go like this. We’re going
to go around, down, around like that. Up and like that into the neck. Now from this part
right now we know that it’s a person who has kind of a very egg-shaped face. Then we’re
going to come in there and start hitting these landmarks,
and the landmarks is your structure part too.
So go here, fitting inside of the eye socket right where it connects to the nose. Then
we put the other one here. Notice he’s going from here to there, from this to that. Bah-dum-bah-dum.
Bah-dum-bah-dum. From this to that. Okay, but there are these landmarks that work for
us. The important one is like right here; this is so crucial. This is the side of the
nose that’s, where it hits the face. That is a structure. Now, there is a secret on
how to ensure your structure without going too crazy.
Watch. Everybody take your finger. Everybody, stop what you’re doing. Take your finger,
put it right here on your forehead. Now, take your finger and run it down and feel right
between your eyes. It’s going to go in. Now, go along your nose. When you get to the
bottom of your nose, rub it. Rub it back and forth. Just rub your nose just like that.
Now, come back down to the center into that little kind of a furrow between where your
lips are. Feel that, and then come up and then down to your upper lip. Feel where it
connects and rub that. Just rub anywhere where there is a plane change. What’s the plane?
If we have a circle, let’s say a cylinder, this has no planes. As soon as I go in there
and break it into linear pieces like this, these are now planes. If I break those planes
down they become sub planes, and if I break them down again those become facets. We have
planes, subplanes, and facets. So, what we’re doing is as soon we come down and we come
down and we feel where the plane changes, just rub it with the pencil. Now, do the same
thing going across the page. Coming up, plane change. Rub it. Plane change. Rub it.
Only draw one side of the nose. Don’t ever draw both sides of the nose. So come across,
rub it, feel it where it changes. Come down where it hits the face. Rub it. Feel where
the plane changes. Rub that. Come down. There you go. Same thing here. Come up. Feel where
the plane change is. Come up. Another plane change, another plane change. Come down. See
how that works? It’s starting to get structural. So take a look at this, and I want to explain
a couple things to you. Some people ask the question, what is this Jeffrey Dahmer thing?
The Jeffrey Dahmer or the Hannibal the Cannibal is just a way of getting you guys to wake
up. What it is, is you want to think of the figure as a chicken, an overcooked chicken.
When you break apart an overcooked chicken they always break apart the same way, and
they break apart within their rhythms. So you’ve got a leg and a thigh. You get a
wing and a breast. They always kind of break apart the same way, and that’s what we want
to think about the body as, that you’re always breaking it apart the same way.
Okay, I actually went into a chicken store once and I said I’d like to have two legs,
two breasts, and two thighs. I said, you know, hell with it. Give me the whole woman. They
looked at me like I was out of my mind. Here we go. He’s out of his mind. Who knows?
Could it be an act? I don’t know. Then when we get to the anatomy you’ll see the parts
of the bones and the muscles that fit. Like here, you’ve got this big rhythm here, right?
You don’t see it a lot on young people because they’re young and all their muscles are
working, and they’re not dealing with gravity. But when you start getting a little bit older
all of a sudden you’ll start to see where gravity is pulling this rhythm down. That’s
how you can age people. Where this fits right there, that is structure. Here, you know,
if somebody is old, young, you don’t even draw in the nasolabial fold unless they’re
smiling. We’re going to get into all that, you know, expressions and everything. It’s
real important. That’s part of the class because I’m the animator. Animation does that.
But, let’s say we go ahead and we start pulling down just this rhythm here. There
is your structure right there. That ages them. That’s the Jeffrey Dahmer training manual
and cookbook. It’s just a way to wake you up. But think of it in groups. Alright, another
question—Pretzel Spot. You’ve got to have a place where you can really study the body.
Not everybody has the luxury that we have of all these wonderful models that we get
to work with. There is a place in the mall called Pretzel Spot. I made it up, okay?
Alright, here we go. So now we come down here and we can feel that. Now our model, you know,
then we go and make sure she’s got a round chin. She has her eyes closed. Draw the entire
eyeball, and then you draw the closed eye. But it has to fit under this fold, that structure.
Okay, see that? Where it turns, that structure. The ear is poking out and goes from the brow
down to the bottom of the nose. Now, the neck is going to connect, and we’ll go to the
neck in a second. It’s going to connect behind the ear. Okay, so right now, again,
I’m going to be very, very redundant. You guys are going to get frustrated with me.
We’re just looking for shapes and how they fit. Do not worry about the anatomy yet. We’re
going to do that later.
Alright, so here she is. Then the hair is just a hat that slips on top. So now you can
see the difference between the two classes I teach. We usually, you know, we get silly.
It keeps you awake. Then we get real serious. Then we get silly again. We just kind of time
you to see when you’d be starting to fall asleep. It doesn’t do me any good to be
teaching you if you’re sleeping. Alright, so you see all that? That’s all that goes
into the head. It’s all about these rhythms.
Now, some more information, we’ll do over here. When you’re looking at
the head there is your brow line. The ears go from the brow down to the bottom of the
nose. Now, if you’re looking down
the ears are up because the ears are connected to the neck. If you’re looking up
the ears are low. The ears are connected to your neck, and they’re connected halfway.
So if you’re looking at your cranium, which is going to be this big egg shape here, the
eyes are going to be here.
There is your cheekbone. There is the side of the head. There is your nose. The ear is
going to be halfway. Right there, that’s where your ear goes. Now, if you take a look
at—now I’m using another, just another lead holder with lead inside, same thing,
just a slightly different color. If we draw like a box shape—and we go back to the lectures
on perspective, and you just draw from here to here right there, that’s your center
line for your face. Go from here to here, and that’s your jaw. The ear is going to
be right here. That’s your structure.
The neck is going to start here. There is a notch here, and a big neck muscle starts
right there. We’re not going to get into the muscles, but you’ve got to know where
it fits right here. It works this way down. You need to draw through if you’re an animator.
There is the other side. The ear is going to be right there on the other side, and that’s
where your neck comes from when it comes in. We really need to be thinking in 3D as we
do these drawings. So if you have the ear here you’ve got to think of it going to
the other side, pull behind that ear down to where you can see it come out, and that’s the neck.
Look at how much—as Tweety Bird would call it—cranium is coming out of the back. We
have a very large cranium as homo sapiens. This is all we need to know for our base part
of the face, the head. We’ll add more to this, a lot more when we get into the anatomy.
Okay, let’s move on to the neck.
neck. You want to make sure that all your figures have necks. I knew a person who didn’t,
and we always called him an airhead. Okay, hahahaha. University laugh, ahaha. Film school
laugh, ahaha. Okay, here we go. You see when I do the lay-in, we go like this. We go across,
down, and look what you have. That’s your whole lay-in for the head. You can actually
have a lot of fun putting this thing down fairly quick. So we go like that.
Now, we’re going to put in the head.
We’re going to push this pose.
The person is going to be looking back, so the ear will be low.
Okay, there is your head.
Now, the neck goes from behind the ear. You’ve got this beautiful rhythm coming down to the
pit of the neck right there. Right there, the pit of the neck is going to be—if you’re
looking at the figure—let’s do a profile. The neck goes this way, ladies and gentlemen,
straight out. This is the pit of the neck right there. It’s where your clavicles,
your shoulder blades, your collarbone which is here, and your shoulder blades which are
here, they come together right there. That’s the pit of the neck. The neck goes this way.
We need to make sure when we’re going this structure that even though it doesn’t look
like it, it’s still coming toward us. We’re thinking of the neck coming from behind the
ear, so if we can see some of his ear on this side we need to draw from behind that ear,
even though we don’t see it, and come down like that.
Okay, now what is the neck? Think of the neck as a cylinder.
Okay, the chin is out here, and it connects right there. Here is the chin
to the lower jaw. Then from behind that jaw where the ear is you’re going to have these
tubes. It’s tubular, man. One is going to come here. Just a cylinder, that’s it. It
has no name. I’ve been to a body with bones of no name. I’ve been to the figure and
the muscles had no name. Okay, we have a little box here.
When it goes down here it’s going to have a little triangle shape.
One is going to go here to that pit of the neck,
and one is going to go here to that collarbone. That’s it. That’s all we need for the structure.
If we’re looking at the one—we’re using the same photo. So we’re going to come here,
and what you’ll notice is we go like that. It fits right into the top of the rib cage.
Ladies, and I guess of you gentleman, too, think of it as having a halter top. You tie
the halter top around behind your neck. That’ll be the top of the rib cage, and there is the
neck sticking right out there.
I’m going to draw a three-quarter side view. Here is your rib cage. See how I just did
the gesture real light. Pit of the neck. Boom, straight up. Here is a fun little trick. We’ll
get into it later. If I go from here up to this muscle here behind the ear like that
I can then just go to the top of the ear and draw up and across and down. There is the
head. It’s so cool, man. There is the cylinder.
So that’s how the neck works, and that’s
your rib cage. The one mistake that I see the most on every student is that they draw
the head straight up. It doesn’t go straight up; it goes forward. If you have to put this
wonderful arrow in, do it. Okay, now go draw 10,000 necks. Alright, you guys all get that?
L.A., you got it? New York, Kansas; if you have any questions, let us know. That’s
where you’re at. The other muscles we’ll worry about later.
Then in the anatomy we’ll worry about the other muscles.
Okay, that’s the neck.
a wonderful gesture. We call this a smudge. Okay, so now when we’re drawing the torso even now we have our gesture in
the shape of a smudge, what we’re going to do is we’re going to think of it as two
pieces. The torso is made up of the rib cage and the pelvis. Landmarks will be the pit
of the neck. If you refer back to the gesture lecture this is going to take place in an
airport as we move our hand down this poor, unsuspecting person’s body. This is your
breast bone, the center. Then you’re going to go into no-man’s land right here, which
is the belly button. I call this no-man’s land because I’m a father of all daughters,
and no man is going here. Then we’re going to come down here to the pubic arch, and that’s
coming down that way.
Then we move across to the end of these masses, so we’re working off the center line. Everybody
write that down. Working off the center line. We draw off the center line. So now we go
this way, this way, and here we go. The rib cage is going to go back. It’s going to
go this way. Now, we’re going to come around like this. Now we’re building the figure.
We’re building it. We’re not copying it. It’s a huge difference in the mindset.
So this is your rib cage shape. It looks like a giant lung. Let’s call it that. I really
always wanted to do a lecture with it being like a tombstone, you know, in a graveyard,
but I was never able to figure out where I want to go with it. You know, these ridiculous
lectures, some of them can take months to figure out. Some of them are for year, then
you do it in front of the class in like four or five minutes, and they think you’re insane.
Now, this is an arch right here. It’s called a thoracic arch, and we’ll talk more about
that when we get into the anatomy of it. But what you guys just want to focus on right
now is this line right here and coming down here kind of like you’re skiing and you
jump off and you come on down right there. Then we’re going to come over here, and
we’re staring to the inside of this pelvis area here.
So here is your hip bone right there. That’s the front hip bone, and that’s the back
hip bone. We’ll attach a name to it later. Then this is your rib cage here. That’s
your side plane. You have a side plane and a side plane. You know, one of the things
that you want to think about when you’re drawing the human body is it’s like a ride
in a theme park. You know, it’s like you walk your way up and then you slide on down
with all these rhythms. God, it was only last summer that I was at a theme park, and I heard
this little boy saying to his mom, “Hey, Mommy, I want to draw the naked body.” It’s
like a theme park ride that’s a naked body. Think about that. You’re waiting in line
for hours to ride a naked body. This little boy is like, “Hey, Mommy, I want to ride
the naked woman ride.” And the Mom says, “No, I’m sorry. You’re not big enough.”
You know, because they always have those height requirements to ride the ride. “You’re
not big enough to ride the naked body ride.” “Well, Mommy, when will I be big enough?”
“Oh, you’ll know, Son; you’ll know.”
You want to think of it that way. You walk up. You slide on down, but you want to slide
down, you want to have structure on that. If you’re thinking here, let’s say this
is the naked woman ride on the theme park, and you’re going across and go whoa, and
then you go, oh my God, I’m airborne. Then you come down and you hit this area right
here, and then you go, oh, I’m airborne again. Then you hit this area right down here.
So you want to be thinking about that, where you’re literally kind of like thinking that
you’re riding all around.
Then you just attach these with these other shapes, okay. So, watch. Now I can come in
and attach a piece right here. That’s a whole other piece that fits like that. That’s
our structure. See it? If you cross-contour this it goes like that. See? It’s really
fun. Now, if we did it on that side we can do it on the other side too with this big
rubber band on the front. We’ll put names on this when we get to the anatomy. Right
now we just want to see it as structure. You can see it on the photo that I’m working
from that you’re also looking at. This is the structure part where it’s kind of coming
over the top of that hip bone going all the way down. Then here is this piece on the other
side. You are literally building this thing called the human body. The Human Body, a movie
so horrifying you wouldn’t take your grandmother. Oh my God, The Human Body, a movie so terrifying
that we give you an area right here that’s empty. This triangle right here is just empty,
empty space. That’s where you hide your M&Ms. I fly a lot. They always find my M&Ms.
I find if I hide them right in here in this empty triangle, nobody will find my M&Ms.
That’s where we get that incredible saying that they have on the commercials, that M&Ms
will melt in your mouth but not in your crotch. I always like to hide them in my crotch, because
God knows, nobody would want to go where my crotch is. Bingo. See that?
Now, the arms are going to be floating. The floating arm. Oh no. Yes, the floating arm.
Float the arms. Yes, the floating arms. See, we float the arms. Why do we float the arms?
Because we want to have rhythm. But I have rhythm. No, you don’t. Don’t you love
those people at concerts who just clap and they have no rhythm? You want to call 911;
get them out of here! Then we have the floating head. Oh no, not the floating head. Yes, the
floating head. This is that neck thing we were talking about which is going to go into
your torso, and it’s going to come toward the viewer. Okay, so now we have that.
The real important part of the torso structure is going to be from the pit of the neck coming
across and attaching to the arm. That’s a triangle shape. We’re going to float these
things. These are your collarbones. This triangle shape is going to go from the collarbone to
the arm to the breastplate. Same thing on this side. Again, no names yet. No muscles
yet. I promised Leonardo, Leonardo the da Vinci, I promised him on our phone call that
I would just focus on the shapes. Let me tell you something; you don’t mess with Leo.
He’ll uck you up, man. Leo will take you down. That’s where that song came from.
Leo is going to take you down. Nobody messed with him back in the Renaissance. It was crazy.
He was the man. And Mona, ooh, she had a temper. Alright. Then from the back you see this crazy
little other triangle shape right there, and that’s going to the back.
Now, for all you college high school, junior high school students, and occasional adult,
this thing right here, this little cylinder, has a little top on it. Sometimes it has like
a square. This is called deodorant, and it goes right there. Okay, I’m getting a little
tired of walking into my college classes and going, oh my God, my face is melting. At the
end of Raiders of the Lost Ark, when that guy’s face melted, it had nothing to do
with the Ark. It had to do with the fact that his students weren’t using deodorant. You
want to use deodorant, and it goes right there between this shape and that shape. Notice
how the rib cage shape floats right in the center. This is crucial. Then this comes around
behind the neck. Then we kind of go skiing along, and you go, whoa, baby. You hit right
there. This area right here is going to be a plane. We’re going to ski on the body
and then we’re going to hit this area here. Then we’re going to come along, and then
we’re going to ski and this is where the mountain stops. Ski, whoa, baby. Boom. Then
we hit here. Then we’ll get into that when we get into tone. Here’s the core. You come
up, and then you come down into the pelvic area right here.
Be careful when you’re skiing. I usually like to tell my students when they’re skiing
to try to ski and leave this area alone. Just ski and then hit the leg, which is down here.
If you ski and you fall into this area right here, that’s the pelvic area, you could
be lost in there for years. You want to be really, really careful. I would see off of
this stomach area, leave the pelvis area alone altogether. Some universities don’t even
recognize it. They don’t even want you to mention it, usually private schools. They
say do not mention that, so we call this the MBA, the middle body area.
Okay, there we go.
side and the back. Gesture. There is her head. There are her arms. Rib cage is that way.
Pelvis is that way. She’s got a leg going there and a leg going there. That’s it.
That’s your gesture. It’s just for you. We’re going to move on to these wonderful
cheap devices: China markers. These are China markers. I don’t know where you buy these.
You buy them at the stationary store. Really? Yeah. So we have the rib cage here, and it
goes that way. Alright, that’s your rib cage.
Now, I wasn’t too sure, so I asked the management here at New Masters, and they told me this
was a female because I often get confused. So, since it is a female we’re going to
make the pelvis tilt forward. Bringing the poh-poh back. You can see the underside of
the said poh-poh. The head is going to go forward. Now, if this is the neck. Here is
the side of the neck. There is your ear. Okay, so we go up here. Just trying to make sure
I don’t break this thing. Then from the ear we come down. There is a brow. This is
a landmark right here. This is the 7th C thing, cervical vertebrae. But we’re not talking
about that yet. We’re just going to have this triangle shape here, which is going to
come down to there and then come back down.
But the most important is going to be a secondary shape, which is going to be your shoulder
blade, and if floats. It actually comes down to rib number six or seven in the T area.
Notice in the front we can still see kind of a straightish area for the front of the
rib cage. We’re going to float this is around. I’m turning her a little bit. Can you do
that? I don’t know. Can you? If you’re an animator you can. That’s what we do.
Okay, so we’ve got that. Then this comes down. Let it float. Here is an arm, and it’s
going to go away. If you need to, put an arrow in there. Who cares? Box shape. If you really
want to nail it going away, put in the box shape. Okay, so we’ve got that.
Now, here we have the dividing line, which, by the way, this right here is the borderline
right there. All of this is called torso. These things kind of belong to the arms in
a way. This is all torso. There is not a lot to the torso. I want a straight line there.
I don’t care if you can see it. You really can’t see it on her. I want a straight line.
Then we’re going to start the leg. That’s going to go away from us. Teaching figure
drawing for 36 years and in universities for over 25 years has allowed me the wonderful
gift of knowing where you guys are making your mistakes. So we’re addressing those
right off. That’s what we’re doing. I wish that I had that when I started. I just
made so many mistakes. Alright, so we’ve got that.
This leg is going to come toward me, so we’re going to go like this. See this structure,
everybody? Structure really comes into the side planes and then how they fit in. So we
have this poh-poh, which makes up to other shapes. We have this one right here. That’s
that wonderful song by The Boss that sings two butt cheeks are better than one. Two butt
cheeks are better than one. Two butt cheeks will get the job done. Two butt cheeks are
better than one. So, this one is overlapping this way, the leg. See this? But this one
is overlapping this way, and the leg is fitting in like this. That is the definition of structure
right there. Everybody wake up! This is structure, and this is structure. For the other part
all we need is some Cal-State cools or another shape. So we’ll go right here, that structure.
Any time these lines intersect like this that’s called structure, and that fits. There is
an external oblique thing. We’re just going to call it a shape. What it does is it kind
of connects these things together. Then we have another one here.
Then we can put an add-on.
You can always see where the bottom is because that’s just the bottom of the box.
There is the side.
The other thing, which is kind of fun, is if the light is going to come down
this way, you’re going to have going on top, and then this is in shadow. So the structure
is also going to help you when you start painting with all the areas where the light hits. Then
later on we put in these rhythms and, oh my God, it loosens it up again. Okay? That’s
your torso. There’s not a lot to it. It’s fairly simple. Rib cage, pelvis. Connection.
Okay, just think of it as box shapes.
Okay, let’s move on.
Okay, everybody, we are now going to continue with our construction. We’re working on
to the arms. Always take your time putting in the rib cage. It’s round on the top,
square on the bottom. The neck will go back away from us because it’ll be a back view,
or it’ll be a front view so now it goes around. Isn’t that crazy? You can change
whether it’s a—well, it’s going to be a back. I’m sorry. This is the—this is
going away from us. That means that the rib cage is going this way so it’s a back view.
All we have to do is this. Then we bring this forward, and now we have the front view.
Isn't that cool?
This right here is your clavicular joint. This is right here, the pit of the neck. The
Jeffrey Dahmer Training Manual and Cookbook, a lot of times when we would order the arm
the most difficult thing was to cut the clavicle, this collarbone away from here. You had to
use those knives that they advertise on TV, you know, that can cut through cans and building
and all kinds of things. You see, the arm is only connected right here. So this arm
in the back, this shoulder blade and this collar bone, and the arm, all of this is only
connected right here. This is a seriously, seriously, serious connection, and it was
really difficult. You couldn’t just break this off. There are parts of the body when
you’re cooking, you just break it off. It just breaks off really easy, but this was
tough. So I used to always ask my mom if I could use the sharp knives, and she always
told me to be careful. I said, Mom, I’ve done this before.
And then you have to be very careful, and this is a clavicular joint. It’s the only
part where it’s connected like bone to bone. Then you had to be really careful to cut that.
As soon as you cut this off the arm would fall off. I mean you’d have to cut certain
muscles like this little wingy-ding muscle in the back right there, and this little wingy-ding
muscle right there. But those are easy. Those are fleshy things. This was tough. So keep
in mind that this collar bone is going to say straight until the arm bone comes up and
connects to and touches it. Once it’s collared the arm comes up and connects with the collarbone.
Then they move together. See? Then the arm will go like that. The arm will go like that.
And the collarbone moves with it. It really pushes away from the body.
Okay, you guys got that?
So we’re really thinking about keeping this arm as separated from the body as possible.
And then for you animators out there and for anybody who wants a drawing to look fluid,
this is what is going to keep your drawings loose. So who knew that a homo sapien was
loose had anything to do with the arms and the legs being disconnected? I don’t know.
I’ll have to think about that. That’s sociology class. Alright, there we go.
It’s a back view.
Even in the lay-in I’m still thinking of it in different pieces.
There is the head. There is a rib cage, and then the pelvis comes toward us. Again, I
really enjoy this model. He really bought into the insanity of my class, and the class
didn’t. That’s what made him so special is that the students didn’t understand that
my class was just supposed to be fun. They all took it serious. This model did a good
job of trying to loosen up the class. We both failed, but, oh well. At least we tried.
Okay, so if you look, we’ve got these rhythms.
Alright, so there is your rhythm. Now, the arm—
we’re going to think of it as a major unit, one of the simple shapes, as Leo was
talking about. Leonardo da Vinci was a real stickler on this. I remember when we were
in class he was really—he’d get really pissy. Real simple, clean shapes. Okay, just
like that. Then this one will be the same thing coming toward us. Think of it as a box
shape. He didn’t care about the anatomy. He knew his anatomy. He’s the one who did
it. He grabbed those bodies and chopped them up. Figure it out. Isn’t it amazing how
the artists were the first ones to really study the anatomy. They didn’t have anesthesiologists
back then to numb you up. It was us. Grabbed the dead people and chopped them up.
An artist just asks how. Don’t ever stop asking how and why. It keeps the artist young.
Again, you know, sometimes you’re in a classroom, and you’re like why are you guys so old?
You’re only 19. Why are you so old? You’re boring. Relax, man. The artist stays young
and excited. Okay, so we have that. Now, we’re going to connect these with connection. Now,
remember I told you about this shoulder mechanism here. What happens is from the back it goes
like this. Then it takes a turn. Then it connects in the front with this collarbone, right?
Well, this box shape right here, see this is on the floating part. But on the arm is
this triangle looking thing which goes like this. It’s a triangle shape which comes
around from the front and the back. It’s a connective device. It’s going to give
a straight line right about here. Then the arm part is going to wrap around that straight line.
Okay, same thing here.
Okay, then on the back here we’re going to have kind of a cylinder.
That leads to this box shape right there.
That’s going to lead us to a box shape here, which will transition us to the lower arm.
Now, over here, we’ll keep with this box shape, and then we’ll add a nice little
S-shape here, which will be the form on the front. This will be the box shape there, which stays.
Then here is a cylinder, and that’s all it is. It’s like going to the supermarket
and looking at the ham or the leg. See how that works.
Then this is a box shape that’s going back.
This is really important right here, everybody.
This straight line. Really cool. So cool, man. Then you’ll have here this floating thing.
Remember, when you’re dealing with the Jeffrey Dahmer Training Book or the Hannibal
the Cannibal Training Manual & Cookbook, don’t just order the arm. Spend the extra money.
Come on, it’s just $1.95. Supersize and get this shoulder blade. Okay, you’ve got
some really cool little muscles in there. We’ll get into them next time. I’ve got
to tell you, this muscle right here and this one right here, good taco meat. Oh, it’s
so tender. It’s really good. Really, really good. Start grouping your muscles. When you
break the body apart. If you boil it really good, if you really boil this body, and you
can get it really soft, this stuff just breaks apart naturally in this area.
You know, you pull the arm, and you’ve got a nice boil. This is coming off with it, you
guys. You might as well buy it at the same time. If you don’t, they’re just going
to throw it away. God, it’s such a waste when you go to the back of these places and
you just see scapulas just thrown, just discriminately thrown all over the place. How dare you throw
away such good meat? Here we go.
Let’s move to the other one real quick. It’s a nice little side view. So we’re
going to see this same model. What an amazing man, so fun. I will miss him. Here we go.
My school is far away. San Jose is, you know, in San Jose, and my school is in the land
of paradise. We’re in the Conejo valley. It’s wonderful and beautiful. But this school—I
won’t be able to see him anymore—is in the Place of Orange. I won’t be able to
see him. I don’t know if he’ll be driving all the way out to my school. So I get to
see him here, if only in a photo. Alright, so there we go.
Now, look at this. He’s got now arms. He’s like the football players in the morning.
When they go to t work, they have no arms. That’s why they have trainers. What do you
need arms for? The arms are connected to the shoulder pads. Then they put their shoulder
pads on. Then the arms, you know, are connected to that. That’s why sometimes when you watching
a football game and they cut away to a commercial really fast, it’s because the football players,
sometimes they get hit so hard that the shoulder pads fly off. They’ve got these football
players running aorudn without arms,. Then the arms are flapping all over the place with
the shoulder pads. It’s disgusting. Oh, it’s horrible. We’ve seen people in the
stands lose their churros and their hot dogs and their beer all at the same time. That’s
disgusting, and that’s why—I think that’s probably why LA doesn’t have a team because
it’s just disgusting, just horrible. So we have to know that the arms are connected.
Here is this torso, and there are no arms because they are attached to the shoulder
pads on the football players. There you go. I never played football in high school. They
gave me this option. It’s like shower with a bunch of ugly football players or draw naked
women. Hmm. I chose the drawing the naked women part and I never looked back, thank you.
So now this is going this way. This is going this way. And it’s just simple, simple shapes.
Then we’re going to look for that straight line which is right here somewhere. This is
going to come around like that. There is this box shape floating. Oh no, the floating shoulder blade.
Look at that Cal-State cool. Watch, this is so fun. This goes this way and this
goes that way. That is so cool. It’s Cal-State cool. But wait, if it’s cool, could it be
bitchin’? It could be. We’ll put a straight for bitchin’. Cool, cool, bitchin’. Cool.
Cool, bitchin’. Bitchin’, cool. Cool, bitchin’, bitchin’, cool. Straight. So
we’re going to go curve, curve, straight, curve, straight, curve, curve, straight, straight,
curve, straight. Now we have a drawing that has design. Is it that easy? Could it possibly be?
I don’t know. Right there is a connection. Right there is a connection. Really, really
simple. That’s called structure.
Side plane. Side plane. How about some rhythm?
I've got rhythm, I got rhythm. Anatomy gives me rhythm. This gives you something to look forward to.
Yes, ladies and gentleman, the wonderful song. And there you go. That would be called
the arm, otherwise known as the upper extremity. You just think about why you need that upper
extremity. How do you pick your nose? Hello. What do you do on the freeway? Can’t pick
your nose, you’ve got problems. I think that should end up being eventually an Olympic
event. Hell, they’ve got everything else. Okay, so that’s the arm.
have legs? Okay, so what I’m going to do is pretty much start with the pelvis and work
my way down. You already know the rib cage. Same thing. Here is the head. Here is the
rib cage, pelvis. But you’ve got to measure to the head to the bottom of the poh-poh straight
down to the feet. That’s the key. In this case, what we want to do is we’re going
to move it up a little bit because I want to have room for the leg. Here is the pelvis. It’s got that angle like that
because the weight is on this leg. This leg is going away from me. Put in the arrow. Then
this leg is going to go in. Don’t be afraid to use these arrows.
I like to consider my way of teaching figure drawing as the Raiders of the Lost Ark School
of Drawing. If you’re walking down the street because you’ve got a date for someone to
meet, and you look out to the side and you see this very nice gentleman, and this gentleman
is swinging a sword because this gentleman wants to dance with you. But you don’t have
time to dance with him because he’s got a sword, and you know that sword can do some
damage, so you’re like I don’t think so. So if you’ve got a gun shoot the bastard.
Keep going. That’s kind of what we deal with here. Just get down to business. Get
the work done. That’s what we’re doing. If I have to put an arrow in so that I know
where I’m going, so put an arrow in. You’re not going to have the arrow police walking
over; excuse me, we pulled you over because we noticed a contraband arrow in your torso.
Well, office, I’m a professional. Well, can you step out of the car?
This is the no arrow zone.
Alright, so we go here. Boom. There is that leg floating. This is going back, so it’s
going to go this way. This is pretty straight. Slightly back, now we’ll make it go slightly
forward. Boom. You can even use the cylinder. Okay, so that’s your lay-in. It doesn’t
change. Process, process. The difference between a professional artist and an amateur is process.
We have process because nobody ever gives you time. If you have time to do your job
you’re probably not a pro. Everybody thinks that it’s done by magic.
Okay, butt cheeks. If you want to find the center of the butt, just go ahead and use
your perspective. Okay, look at that. What a butt crack! There you go. I call this Portrait
of a Plumber. Here we go. We’ll get emails on that one. I’m a plumber and I don’t
have a butt crack. You don’t? We go like that. This is going back. This is overlapping
that. There is your structure, and then this is straight. The straight gluteal band. I
checked the records and the files and this is a female. Because it’s a female, there
is a little bit of a fat deposit right there. Women have fat deposits. Men have no fat deposits
at all. I’m living proof. No fat! I am total muscle. Actually, it’s summertime and I
am severely affecting my income because what I usually do is I usually sit on the beach
with my perfect pecs and people open bottles onto my pecs. It’s wonderful. We’ll get
into that more when we do anatomy. But I am the pec bottle opener of the beach. We’ll
get into that more. My body is cut. You have to be very careful. Sometimes people bump
against me, and they cut themselves, I’m so cut.
Okay, so here we go. We’re going to go this way. We’re going to go down, straight. Curve,
straight. Curve, straight. So cool. Look at that. Boom, boom. We can go this way. Just
work our way through. We’ll get into the anatomy. Right now we’re just going to do
the structure part. This, the anatomy is going to take a while. This is kind of a nice little
oval with a box sticking out of it. Okay, you can really see how that structure works.
It seemed to work up there, so the inventors did the same thing down here. They just did
another oval and put another box coming out of it. Real simple. There is your structure.
Same thing over here. Notice, everybody; listen up. This right here is the most important
part. This transition area, these transitions.
It’s like Stairway to Heaven on your body. Stairway to Heaven is probably one of the
greatest songs ever written in the history of songs that were written by people that
write great written songs. The whole thing about Stairway to Heaven is that it’s a
song of transitions. Same with MacArthur Park by Richard Harris; it’s all transitions.
You think it’s different songs, but it’s not. It’s the same song. This is one part
of the song transitions to another part of the song, transitions to another part. That’s
what I want you thinking about as you do your drawings. How are you transitioning from one
part of the body to the next. You transition with these shapes. So that would be for the
back. Remember, the gluteal band is real important because the gluteal band tells you the story.
I got in trouble really bad at the beach last summer because I walked up to this gorgeous
homo sapien, and I said your gluteal band is talking to me. Don’t do it. I mean even
though it’s important and you know it is, and everybody knows that that gluteal band
is just having a conversation with you, don’t do it because jails in Malibu aren’t as
nice. Much nicer at the airport. They’ve got really nice jails at the airport, security,
but it wasn’t a good thing. But it was. The gluteal band was talking to me. It was
telling me the story, and I said I do gluteal bands for a living. They weren’t too happy
about that. Side view, let’s do this.
Alright, side view, let’s do this. Here is the side. That’s just the side. Then
here is the front. That’s the pubic area, otherwise known as the MBA, middle body area.
There you go. What do you say we put in some shapes. We know that this going to be the
gluteal band, the poh-poh. We know it hangs low. Check this out. This is your whoo-hoo.
The whoo-hoo is up here, but the gluteal area, the poh-poh is here. Whoa. So, you’re telling
me that the gluteal band, the gluteal area, the poh-poh hangs low? Yeah. They songs about
it. Does your butt hang low? And if your 55 it hangs even lower. Okay, so we’re going
to go this way. It goes like that. Then it comes toward you. Then we’ve got this one.
Keep it open. They you go here. Again, it comes towards you. You know it’s toward
you because you’ve got a box shape. Oh, I love my box shapes. Actually, when I go
shopping for art stuff, like I’ll order spheres, they’re kind of not the best thing
to deal with because you get caught in there. I might order 5 lbs of spheres. I usually
order like 40, 50 lbs of boxes. They really tell me the story. I order a lot. Man, I’ve
been known to order 50, 60 lbs of Cal-State cool. I’ll order 40 lbs of Cal-State bitchin’.
Wave? I’ll order 100 lbs of that because that keeps me alive. I love, I mean it takes
like four or five of those people to help you to your car just with the amount of tools
I’m buying when I go to the art place.
Okay, now—you’re like what is Sheldon talking about? Just don’t listen. Just humor
him. Here’s the box shape. Transition. Here is an egg shape into a box shape. Whoa, dude,
that’s cool. Same thing here. Transition and then round, straight. Dude, that’s cool.
Transition and then round, straight. Then round, straight. Then let it fit inside there.
That’s your structure. Then we’ll do the anatomy. The anatomy is going to take a while
because we’ve got some stuff going on in there.
Oh wait, someone is talking. Hold on, I can hear somebody. Somebody in the audience, in
the classroom has a question. Yeah? I think you’ll be okay. The question was I understand
that your classes are insane and silly. Will that hypothesis, will that pedagogy continue
on with the study of the anatomy? The answer to your question is yes. What we have done
in my mind is we are taking you to a new low in higher education, and that will definitely
not end with the study of the anatomy of the homo sapien. So yes, look forward to a new
low in higher education, ad we will be taking a journey into the human anatomy. Coming to
a theater near you. But the leg is away from this box shape.
Okay, have you guys got that? Then we’ll move into the legs, the feet. This is the
key. How do you transition? It’s very important at a theme park. Could you imagine being on
a roller coaster and have no transition. You’d go whoooaaaa. I want to have that transitional
area. It’s usually we can hear that “eh, eh, eh, the gear shifts going like that. I’m
not really big on that. I don’t ride roller coasters. I’d rather sit and draw the people
riding the roller coasters.
anatomy you’re going to understand that the hands and the feet are identical. They’re
the same. I’ve got some fun stuff to show you guys. The tools we’re going to use,
again, the pit pastels and the Cretacolor. I’m going to use a lot of different colors.
I’m going to do a couple notes along the top. Regarding the hands, one thing I want
you guys to be aware of is that drawing the hand is a lot like drawing the entire figure.
If you think about it, this part right here, this palm area is like your torso, and your
fingers are like the extremities. That’s all. You have so much expression. You can
have so much fun. Just drawing the hands. Make sure for a portfolio you have at least
one hand or one foot in the drawing or you can’t use the drawing in your portfolio.
What’ll happen is people avoid them, and the studios are aware of it. I was always
aware of it. One thing you want to understand when you’re drawing the human hand is as
you move along the arm, the lower arm you’re going to step down. So, step down at the wrist
and then into the hand. Very important. This step right here is about seven different bones.
That allows you to do this. It has to step down at the wrist.
Now, another important thing that really people mistake a lot is that this right here is higher,
so it goes like that.
Then the fingers as a group come down out of that.
Then your thumb floats out here.
That’s it. That’s all you need for the hand. Let’s demo that.
We’re going to use this wonderful pose. There is just two of them. Let’s see what
we can do. Again, just like you would create a gesture, that’s your arm. Cal-State cool,
Cal-State bitchin’, and then come down here. Thumb, fingers, and then he’s grouping these
in the back. He’s just a phenomenal model, really knows what he’s doing. You feel that
condyle there, and we’ll get into the anatomy. Again, for the anatomy, that’s going to
take a while. If we can get two of those a day. Just consider the entire hand to be like
an entire body. When you think about how expressive the hand is…
The areas of the fit going to be here because that finger is going to fit—now the knuckle
is going to overlap the finger, which will push the finger back.
Here is your side plane.
Okay, let’s see what we got here.
I like to group the fingers. One thing that’s real
important when you’re dealing with the hand is that to understand—and we’ll get more
in anatomy—that the center finger, the almighty finger right there; that’s a powerful finger.
All the other fingers bow down to the almighty center finger. There is your pointer, ring
finger, pinky, and thumb. That’s what’s happening here even though—and then you
can group these fingers. If you draw them all open like that it’s boring, but if you
group them that gets more interesting.
There is our structure.
These are just boxes.
Let’s see, we’ll go like this.
Here is your transition area here.
You’ll notice that when you’re drawing the hand it’s just a bunch of bony things, like here are
the fingers. We’ll get into this more when we do the anatomy. You just put a little pad on there.
Okay, that’s the hand. What you guys are going to find is the foot is identical
to the hand. Same thing. It’s just a base right here with these fingers coming out here.
The problem I have with the foot, you guys, is that for the short time that I worked before
I got in the industry, I worked from the age of 16 to 19 without being in the industry,
so I got in the industry when I was 19, and then from that point on I’ve only worked
as an artist my whole life or in some form of the visual communication, whether it be
advertising or animation or whatever. But that time that I was working was in a woman’s
shoe store. There were times when women would bring back their shoes, and you’d open the
box and you’d have to spend the entire night in the burn ward of the hospital because of
what they have done to those shoes. They would burn your face off. I would make deals with
the customers and say, if I don’t have to open this box and I’ll give you anything
in the store. I’ll even give you the manager’s car. I’m not a big fan of feet. I like hands
but feet kind of, bring back some really bad memories. But we still have to draw them.
Think of the structure as a box shape here just like this. Go here. Then it come down
into this toe shape. We’ll have a lot of fun with the anatomy of the foot. Remember,
each one of these structural things we’re doing is an entire class so you guys can have
a lot of fun with it. So you have your side planes. We go like here, here is the side
plane. Here is the top plane and here is the side plane. Okay, if you’re going to do
a side view of a foot think of it as a rhythm. We’re going to go this way, this way, and
this way takes you right into the foot. This is the back view, the back of the foot. So
we go this way, this way, right in, and then there is your heel. If we do that, again we’ll
get into more of the anatomy, but we’re going to go curve, straight, straight, curve,
and then there is your knee shape taking you back.
This is the important part right here. Again, this is the talus, we’ll do more. It wraps
around. That’s where this part here wraps around on this one. There is the heel. It
goes, just skiing right down. I’ve only skied once on snow in my life, but I ski down
naked people every day. There we go. Look at me; I’m so badass. I can’t do that
on the slope, but I can do it here. See that?
Here are your cross-contours.
They are the same. They can actually perform a lot of the
same function. People, unfortunately, sometimes are born with hands and problems with their
hands, and they use their feet. If I ever had a problem with my hands I’d be drawing
with my feet. They’re identical. You’ll learn that when we get into anatomy.
like this, you melt. So I want to show you the parts that make it really work. Look at
this right here. Look at how beautiful that is, this right here overlapping that. That’s
it. Come around. This area, now this is coming toward me. See that? This line overlaps this
one. That’s your transition. Pulling this around. Look what happens—because this is
going back. This is in front of this. This is going back, so draw through. Look at the
shadow. It follows the cross-contour of the arm. That’s your structure. Then it fits
inside here. Really important. Then the thumb fits inside. Okay, look at this. This points
to the scapula here. There is your structure. Look at these cross-contours. Man, these are
gorgeous. That’s your structure. This neck is really pushing back towards us, and he’s
not happy about it and it’s uncomfortable. We’re going to go this way, this way, and
that way. That’s real important. That’s your wave. That’s going to take it around
like that and then bring it back. Look at this right there. See the way it overlaps
to push the hand back. Then the thumb comes toward us and it fits inside. This shape overlapping
that one, and it’s coming inside.
Hey, everybody out there, don’t look now but we’re going digital, man. Here we go.
Five years of students telling me that I wasn’t digital. That was crazy. Today artists live
digital, but it’s all the same. See that right there? That overlaps.
This, look at that, follows that line just like that. This is a beautiful drawing, but it’s a beautiful
drawing in its subtleties.
Now, this one is all about rhythm, you guys. Watch, they’re going to have this really
fun—I’m going to show you some gesture first. It’s all about simplicity. Look at this. Watch.
That’s your composition right there. That’s your primary composition,
what keeps the eye looking. It’s really fun. Structure wise, right here, look how
beautiful that fits this line here on the inside.
Then you want to take this and pull it around behind her. Look at the way the master did it.
Even using this arm right here,
this line comes around and meets that one. Even though it’s not anatomical it works
with the gesture. It works with the form. Then you can take this arm here, this pectoralis
and move it in with her neck. These two are joined. It’s really fun. See, this comes
around. Then this comes around this way to meet the back. I learned this from Mr. Vilppu,
amongst other teachers, about a thousand of them.
There is nobody better on the planet than Glenn Vilppu.
Look at that. See that? Then we’re going to step down this way. Look at this. It’s
just so fun. Now this line has to overlap. Now, what I’m showing you right now is from
cleanup from doing years and years and years of animation cleanup. This is so important
right there. That’s your whole scene right there. It’s taking what you learn in your
Renaissance drawing and applying it to all the modern drawing.
I want to talk to you guys a little bit. People will go cleanup doesn’t exist anymore. I
go what do you do? They go character design. I’m going hello? How do you tie down your
drawings? Oh, we tie them down. That’s cleanup. It’s like, God, you’ve got to learn this
stuff. You have to learn it. Or don’t, then the people who do don’t have to worry about
competition. Alright, so you see that?
Everything we’re doing right now in this structure comes from working on massive feature
films. You can see that structure. Really pushes the arm back. And as far as technology
goes, I am equally as comfortable working on a Cintiq, a tablet, watercolor, charcoal,
pencil, or dark chocolate Milky Way candy bar. It’s all the same. It’s just drawing.
There is your cylinder. Cylinder into a box. If this is looking foreign to you, study the
videos and get back to doing more. Do it again and again and again. Every day. There was
a saying years ago. I don’t know where the saying came from, but it said “a naked person
a day keeps the doctor away.” I don’t know. Okay, there we go. See the structure?
Really fun. Cylinders, boxes, doesn’t matter. Mix and max them. Have fun.
Okay, this is a beautiful, beautiful painting. It’s really mostly about rhythm, this one.
It’s simple. It’s just this. I’ve got a lot of my students working with these rhythms
just to start. I finally got it to happen. It took, I don’t know, 30 years. I think
what finally did it was contacting my mafia friends and having them threaten their lives.
It really helped a lot. What was it? Use rhythms and get the composition down, or spend the
rest of your life wearing cement shoes on the bottom of the river. I think they go their
point across. Just called Tony. Hey, Tony. He said, what Sheldon. I want to teach the
kids how to draw. So teach them how to draw! Well, they’re not learning, Tony. Well,
what are you doing wrong, Sheldon? I said, Tony, I don’t know. They’re not listening.
Well, I’ll take care of it. Hey, students, I’m Tony. This is what we’re going do.
You’re going to listen or you don’t listen no more. And they’re listening and it’s
a wonderful experience to see them do well. Do you believe that? Do you believe that I
would do that? Sure, why not? Anything to get the kids to draw.
So, you see how we’re doing this here? Structure, structure, structure. It’s kind of fun.
I don’t know. Can you go to hell by taking religious paintings and removing their clothes?
I don’t know. Going back. Going forward. Here I’m going to walk on down. Going to
crawl down the center of her body. Dip into the belly button. Come out. Pubic arch. Right
there you can see that you’re looking at the inside of the pelvis. This goes back.
The leg is going to fit way over here. There is your egg shape. It fits right there. Look
at that turning right there. That’s the turning of the box. You’ve got a butt cheek
here. So you’ve got to go in and actually draw the second butt cheek. See that? That’s
the other butt cheek. Then fit the leg inside. Then the rib cage is going to come toward.
Then the rectus abdominis fits on top and tucks in.
Now, these things here are only there to show mass. That’s it. That’s why they were
invented. So we go here, go across. You notice how that wraps around the mass of the rib
cage. These are tools. They’re used to show form. That’s it. Mass forming tools. Yes,
ladies in gentleman. Float the arms out. Down. That’s your structure. You have to be able
to get to the point where you just kind of write it. It’s just part of the whole scenario.
Look, there is your shadow. This is going away from us. They fall right on the turning
I have studied this drawing so much, and again, I want to show you just parts of it that are
your structure right there. This line overlapping right there. That tells the story. It’s
a really good lesson in color, too. The really warm background, orange background. Look at
how the blue stands out. This overlaps this way. Box shape. Feel the olecranon. Pushes
the arm back. Look at the rib cage shape. Leave the boobies off. Go for the rib cage
shape, and then add on to it. That’s your structure. Cross-contours. Box shape. Pelvis.
Poh-poh. Straight line. I’m going to change the drawing. See how he’s got the line going
all the way up there? I’m going to change that. You arrogant thing, Sheldon. How did
you do that? Oh, be quiet. You arrogant thing, Sheldon, how did you do that? Oh, be quiet.
Let’s bring the leg down here, leaving this area open. It’s the tensor, the tensor will
make the leg feel like it’s going up too high. See that? Look at that. You’ve got
this tensor muscle.
You really do want to keep this leg away. Again, this leg overlaps into a box shape.
Then this is going back. It’s just a cylinder. Overlap like that. Then you can connect this
if you want. I really want to keep that open. It just really gives a lot more fluid to the
drawing. Now, here comes your rhythm coming around this way. This is the external oblique,
otherwise known as the spare tire or love handles. It’s going to come down. It’s
going to sit right on the iliac right there, right on the crest. Rectus abdominis. Tucking
down into the pubic arch. There is your inguinal ligament. Erector spinae muscle is down there.
There is your rhythms so you really flow. This guy was really good. Again, look at how
amazing, what an incredible draftsman. See that right there? See the way that flows?
Then this fits. Anytime you’re going to get something that goes like, let me show you.
Any time you get this then you come around like that, that structure.
See the flow? Beautiful rhythm. That’s good. You’ve got that space there. See these rhythms?
That’s the key. This shape gets built on that shape.
Okay, so structure parts. Rib cage here. Look at that box shape right there. So pretty.
There is the thoracic arch.
Nipple, nipple. Box shape.
Then the legs connect. As long as it does
not connect up to the top of the box, I’m okay with it. But the more room you can give,
the better you’re going to be. Box shape. Look at here. Here is the box shape. Look
at how far out he connects the leg. Way out there. What it does it gives just an incredible
of rhythm. Loosens up your drawing. Box. Look, he’s pushing this line right into the arm.
God, he’s good. See that really pushing that, and then he’s going to bring this
arm pointing down. Then a straight, then a curve. God, it’s good. It’s straight right
there. Beautiful. Beautiful, beautiful, beautiful. Then this is going to go, let’s see, we’ll
take—this is kind of standing out on its own in a way. You’ve got this happening.
We go from here. We pull this around to the front. That’s your rhythm. Box shape, down.
Back. Back. Back. Really pushing it back. Really doing well. Then you’ve got your
box shape here. Side plane. Side plane. Side plane. Even here on the inside the midline
is Cal-State cool. We go this way, and then it’s going to go this way. That’s another
big, major rhythm on the inside.
Look at that straight line there. Curve. Now, this is in front of this. That’s real important.
You’ve got this nice shape. This is in front of this, and that’s real important. You’ve
got this nice shape here. Curve. If the arm is going toward us, which it looks like it
is slightly, this is going to be in front. You can do whatever you want here, but this
is going to tell the story. Have that overlapping line right there, which now brings this arm
in front. There you go. Now you know why this is my favorite artist. We go here. This overlaps
and comes around. Bring this around.
This is the Jeffrey Dahmer Training Manual and Cookbook done really well. When you put
in this line here it represents a lot of the rib cage. There is a bit of latissimus on
top. We’re going to bring this around and then take it back down. This is so important
and it’s so missing today in everybody’s drawings. I just want to go around and then
build on top of it. You see, this is built on top of the rib cage. Then we’re going
to pull this through like that. There is your rhythm. Nice curve. That’s called a concave.
This is called a convex. Look at how he has this line here pointing this way. It’s separate
from here. If you look you have this line here. This is over here. So offset everything.
Don’t do this. We’re going to pull from the back here into the belly. So we’re pulling
around. You have to actually kind of get your mind into the area in a sense where you can
feel the pit of the neck and pull the line around. You’re thinking 3D, that’s all,
which is important because your drawings are living in a 3D space. I’ve got right now
just this semester alone two kids out there working. I’ve got to train them since they
were really young. I don’t take full credit. There are so many incredible teachers out
there, but I got to mentor them. They’re digital and traditional, but boy can they
draw. They’re just scary how well they draw. Then they also can do the digital.
See, this fits here.
I remember going to a union meeting once, and this guy was complaining about the electric
pencil sharpener, how it really affected his career. I was like, wow, big technology, huh?
I knew what he was talking about because when you’re working you sharpen that pencil nice
and slow. It gives you a chance to think. I know what he’s talking about. I studied
with these. I was one of the old guys, but I got to study with the really old guys. You
have your habits. But, like the electric pencil sharpener is technology, so is the computer.
You don’t get rid of technology. It’s there to help us. It doesn’t think for us.
Look at this leg coming toward us. It’s all right here. That’s it.
It overlaps that form. God, that’s so good.
Here is your box shape right there.
The bottom of the external
oblique right there. You’ve got a ligament taking you right down the pubic arch. Okay,
so see your structure? It’s the little tiny things that make the difference.
Alright, now this one is one of my favorite ever drawings in the world. We’ve got this
line right there. See the way that overlaps right there. That brings the arm forward.
Then this one will Cal-State cool it, go like that. That will bring the arm back. You cinch
it by putting a box shape right there. Nail it. See that? It really works. Then this comes
toward us by overlapping like that. Box shape. Notice that you have the latissimus there,
but you can still see on the inside where he’s thinking about that rib cage. Bring
this down and come around and feel this part. We’re looking down at the figure so it’s
going to go like that. Thoracic arch is still there, but we want to look down at the figure.
This animates all the way down. You want to wrap around.
Box shape. Cross-contours are your friend. Put in a thousand of those.
We have this shape here. On the other side
there’s going to be a straight. Then we have this overlap right here, which takes us out.
Cal-State cool that. Boom. Don’t close that shape off. Keep it open.
Don't close off your shapes. You want to keep the eye moving. This is structure. This is the
actual line there. Here, there. So it waves up into the upper torso. Overlap.
This goes back. There we go. Then you can put in the little shapes on the inside.
They’re all good.
Okay, moving on.
Again, this is a beautiful drawing. We’re just going to go over little areas that are
important right here. This overlap right there. That straight, so pretty. Boom. But what we’re
looking for is this. The core shadows will tell you where the form turns. Notice the
nipple are ellipses. They’re not circles because it’s being pulled this way.
Feel that rib cage. What I’m going to do is I’m going to push that rib cage like that with
a box shape. Give it more tension. Again, right there is your construction. It can get
really subtle, ladies and gentleman. Really subtle. Then you can wave your way down.
Notice how the eyes go this way. Look at the ears. They’re low. We discussed that today.
Okay, moving on neck is forward. No matter what, the neck is forward.
He’s got this really narrow thoracic arch. The intercostals muscles pull the rib cage together. It’s pretty cool.
The interosseus. I’ll have to look it up.
Okay, moving on to a beautiful head drawing. Take a look. We walk on down. Center line.
Top of the nose, underneath the nose. Fultrum. Lip. Lower lip. And the chin. The chin over
to the zygomatic process over the ear. Same thing on this side behind the nose. Rhythm
chart. Coming around from the hairline into the eye right there. You can see it. Coming
around to the other side into the eye. Bingo. Come down, side plane. Rhythm chart. Nose
connects to the face. Then we have another rhythm coming this way. Another rhythm here.
The nasolabial fold. Coming around here. There is his mouth. Drawing right behind his beard.
This isn’t fair because I do this for a living. Reconstruct. Okay, behind the ear.
In front of the ear is the jaw. I’m going to erase this because it got a little weird.
Okay, so you go back up. Walk on down. Notice the lip. Step up, lower lip. Step down, it’s
the chin. Here is the rhythm of the orbicularis oris. Here is the depressor to the hyoid.
Zygomatic process. Orbit of the eye. Orbit of the eye, eyeball. Brow turns on the side
plane. As tweety bird would say, here’s the cranium. Here is the ear. It’s a little
high because he’s looking slightly down. Back of the cranium. Sternocleidomastoid muscle.
Pectoralis, deltoid. And we’re on our way.
Now, all of the stuff I just put in—here’s the turning plane of the nose. You do on the
value of a half-tone. So you never have to erase it. You leave it in. The audience likes
it. Give them the structure they need. He’s hiding it with all this hair. If you paint
this guy and you don’t do the structure first, and you just put in the hair, you’re
going to get Chinese food. Mushy drawing. We need our structure. Okay, there we go.
of some models that I like that I think you might enjoy. Let’s see what you got. Let’s just give it your best.
They’re going to be timed. Let’s see how you do. Then afterward I’ll try it also. Okay.
Look for everything we’re talking about. Look for the gesture. Look for the shape. Look for the form.
That’s all we are right now. We haven’t gone any further. They’re just gesture, shape, and form, which is called
the construction in the drawings. Are you ready? Give it a shot.
We’ll see. We’re in it together, guys. I’m going to do the same project, and we’ll see how I do.
Hey, everybody, we’re going to go in and do some demos of the assignments you’ve
been doing. This is my chance to show you how I would do it. We’re going to put them
all on the same sheet, which means there is going to be a lot of planning in space. I’m
going to use two different tools. I’m going to use this gorgeous pelican fountain pen.
It’s a real beauty. I’m going to use this very affordable brush pen.
So, this is for structure. Keep your gesture loose cause you never know what change you want to make.
Alright, now here we go for the structure. Rib cage. Pelvis. Leg. Legs going back. Arm
going back. Scapula is floating. I’m going to bring the head down. I’ll put it right there.
There’s your front. That’s the front of the box, back of the box. Each one
of the components keeping it open. Keep it open.
We’re going to leave the joints open.
Okay, so this is a fun pose. Kind of
a standing pose. I’m going to try to design these.
Again, you’ve got the gesture.
Notice even in a quick drawing like this I’m combining my rhythms.
There is that structure. See?
And wrapping it up. There is your rhythm right there.
Okay, so this kind of a drama pose. She’s got her hand over her shoulder. I’m going
to use this arm as a measuring line, so that’s going to take us all the way past the pelvic
area. Now all I have to do is measure right off of that. See, this is coming out of the
front, and this is coming out of the back. Just bring the leg.
Even with this, if you notice, I kind of did the arm in one swoop, I’m going to come
back and still break those joints because otherwise the drawing is going to get stiff.
Okay. We’re just going to scale back and forth on these drawings with the different
tools, two different tools. I want to keep the head loose on this one because it’s
going to tell the story. She’s sad. I don’t know why, but she’s sad. Trauma.
Alright, so that’s the lay-in. Then the structure really helps us get it to where we need it to be.
We’re going to bring the hands up.
Then I’m going to bring the head down so I’m going to bring
the scapula, the shoulder blade up. Then the rib cage is going to come out from behind
that scapula. There is the chest. Then here is that box shape right there. Then we immediately
pick up the back right here.
Okay, there is the leg.
This is growing out of the arms.
There is your drama, and that’s what we want.
The reason why you have to draw fast like this is because when you’re animating or
you’re doing your work you want to be able to get your idea down on the paper. That’s all.
Are you ready? This is a fun pose. I’ll probably just go line of action like that.
Here’s the face. Arm is going this way. The knee is growing out of the arm, which
will give me a chance to put in a shape. This is using scribble, shape, and form all in
the same lay-in. This would be your still life, what goes out of what. She’s really
twisting over this way. I’m going to bring the head back right there. That’s the next
stage. Then I can start anywhere I want. Try to start your drawing in different places
every time. You’re going to really put yourself in trouble if you find yourself having to
start the drawing at the same part. It’ll really burn you.
I purposely start the drawing at different places.
so we’ll put a straight. Complex, simple, law of opposites. Rib cage, pelvis, nose,
straight line. Knee past the straight line. We’ll put the foot back onto the straight
line. This is a straight line, and we’re going to put another Cal-State cool line right
there. There is our gesture. Next is shape. Rib cage, anatomy, belly button, ligament,
pubic arch, leg. Leg towards, leg back. Rhythm from pec into arm. Straight up. From the pit
of the neck behind the ear to the ear, coming around, nose, mouth, chin, and shape of hair.
That’s the finished drawing in less than two minutes. Now we can go in there and really
nail the structure part. Make sure we have those side planes. Okay.
Having fun with the same tools. Let’s plan it right here. Gesture. Now, here, when I
do poses like this I like to go into the side shapes like this. The scapula is so pretty.
That’s a shape. Here is the ear here, the hair shape there. Rib cage. Rhythms. Pelvis.
Research has found that this model is female, so we push the poh-poh. I’m going to go
opposites here. It’s going to be fun. I’m going to bring the arm from here around the
other side. Okay, there you go. That’s pretty cool. That’s so fun. I like drawing. I think
I’m going to do a lot of it.
There is the head, neck, rib cage, pelvis. Leg going back. Leg coming towards. Leg going
back. Always check your weight. Weight and proportion. Those are the biggies.
Back. Side plane, side plane, side plane.
See this structure. Changing tools, ladies and gentleman. There
is her head. That looks just like her. That’s her shoulder, and that’s her elbow. That’s
her hand. Her hand is on her hips. It’ll go like that. It’ll bring the rib cage out
there. It’ll bring the pelvis out there. Then we’ll go back and do her hair. Then
we’ll show a buttocks over there. Have the leg over there to come back over there. Bring
that leg back there. Let’s have some fun, get some action.
I’m just going to start at the shoulder. Why? Why not? There we go.
I’m not going to put any detail. I’m just going to draw the shape. Just the shape of
the breast there. There is a little line there. But the important part is going to be this
pulling around. That’ll give us form. Then two buttocks are better than one. This will
bring us back. Boom. This line right here, push this leg back. I’m going to bring her
head here. So we’re going to go from here behind the ear. Then down, nose, mouth.
Then she’s got her hand right there. That was a quick sketch. Using a lot of the structure.
Structure is important. Structure right there.
I’m just starting with an arm.
Then there is a hand.
There is a knee. Now, women have two knees. Men have three knees. So that’s something
you need to remember when you’re doing figure drawing because you can get in real trouble.
The female homo sapien has a right knee and a left knee. The male homo sapien has a right
knee, a left knee, and weenie. And that’s where you have to be very careful to make
sure you get that right, or you can be very embarrassed. So that would be the weenie right
there. This would be the leg, and this leg is going up between the arms and then down.
Then I’m going to bring his head down because he’s depressed. What’s wrong? Oh no. I
can’t help it. I was animated this way. Because he’s a male he’s got flat butt.
Here we go. Rhythms this way, that way, that way, that way.
Overlap right there. Boom.
So, how do you feel? Feeling more structured? Feeling more together? Do you feel like you
got more structure in your life? What we want to think about with the structure is that
it has to be right on. In the olden days in the studios working on these feature films,
if your drawing was just a quarter of a 0.3 pencil off, you were off. Now that you’ve
got a chance to experience it, practice it every day. Trace magazines. Trace master drawings
and really look for that structure. It’s been fun. I’ll see you on the next round.
Draw every day, okay? Draw every day. I’ll talk to you guys later.
Free to try
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19m 48s2. Introduction to Structure: Scribble, Shape, and Form
9m 58s3. Structure of the Head
20m 32s4. Structure of the Head (Model: Madison)
9m 12s5. Structure of the Neck (Model: Barry)
14m 25s6. Structure of the Torso (Model: Zika)
16m 25s7. Structure of the Torso (Back View, Model: Zika)
15m 51s8. Structure of the Arm (Model: Jee)
15m 45s9. Structure of the Legs (Model: Analeis)
16m 36s10. Structure of the Hand (Model: Jee)
22m 31s11. Old Master Analysis: Baudry, da Cortona, Diaz la Peña, Pontormo, Prud'hon
16m 48s12. Old Master Analysis: Rubens
23m 9s13. Timed Figure Drawing Assignment
12m 11s14. Sheldon's Approach to the Assignment: Part 1
11m 30s15. Sheldon's Approach to the Assignment: Part 2