- Lesson details
In this series, instructor Sheldon Borenstein shares with you his approach to figure drawing. Sheldon utilizes his unique and entertaining teaching style to make the often-intimidating subject approachable and fun. Sheldon breaks figure drawing into four parts: Gesture, Construction, Anatomy, and Technique (GCAT).
Sheldon will cover gesture in this first 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
- Sharpie Peel-Off China Markers – Black and Red
- Pentel Pocket Brush Pen
- Kuretake Zig Letter Pen Refill
- General’s Charcoal Pencil
- Strathmore 500 Series Charcoal Paper – Pottery Green
- Faber-Castell Pitt Pastel Pencil – White
- Sandpaper Block
- Pelikan Souverän Fountain Pen
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are a lot of gestures. There is this one, this one, this one, and other ones. Gesture
is story. You start out with a concept. The concept is the story. It’s used in everything
we draw and everything we do.
We’re going to go over weight and balance and proportion. We’re going to go over motivation.
We’re going to go over acting; who, what, why, and how. We’re going to demo for you.
We’re going to lecture for you. We’re going to reference it back to the renaissance, to history.
You’re going to have some timed drawings, and then after you’re done I’m going to
draw them for you. Real excited to teach you guys. Remember, gesture is story.
Are you ready? Buckle your seatbelts. It’s time to rock n’ roll. Gesture. Go.
A lot of people get a little weirded out about it because the subject that you’re drawing
is naked. But so what? It’s just a figure, and it’s just a model. Figure drawing is
the toughest. So, listen up, everybody. You’re never going to master it. Michelangelo on
his deathbed had his students burn his drawings. They said why. He goes, do you really want
people to see how hard I had to work.
What the figure is, is broken down into categories. It’s called GCAT. It’s Gesture, Construction,
Anatomy, and Technique. So the gesture is your story. Then the construction is how it
fits together. Your anatomy is how it moves. Then your technique is what we put on top
of it. In the end, when we get to the end of these subjects you’ll do them all at
one time. But you can’t do it all at one time when you’re learning.
It’s too much information.
Okay, now let’s start applying what we learn. When you draw, put the pencil in your hand.
Take your fingers, pick them up like this. You don’t have to draw like this, but it
does benefit. When you draw, draw from your shoulder, not from your wrist. You want to
get your whole body into it. The reason why you draw like this is because you’ll be
able to get these real pretty lines. The shapes we’re going to use—these are in my fundamentals.
It’s going to be a circle. You’ll notice how I don’t sit and draw like this in one
line. It’s too hard. You guys can do that. I’m not going to do that. I want to feel
it. I want to feel the drawing. I go slow and build up. It’s a circle or a sphere.
This is often the fundamental. So go back to the fundamentals videos that I did, and
the perspective and all that so we don’t have to do it over again. So it’s a circle
or a sphere, a box or a cube, and a cylinder. So those are your shapes or any variation of that.
Alright, so everybody listen up: It’s any variation of. This is a sphere and this is
a box. This could be a spherical box. This could be round, and then this could be square.
This is all in the other videos. You can kind of work on these. So it’s any of the three
shapes or variations of that. You guys got that? You good? Okay. When I draw I only think
of music. I don’t really think of the structure and everything anymore or the anatomy. I only
think of music. So the notes that we’re going to use is going to be this. This is
what I call in my classes Cal-State Cool. That’s just because I wanted the kids to
remember it, and I teach in the Cal-State system. Cause they’re in LA. They can’t
remember their thought process for more than like six words.
[surfer voice] How you doing? I’m doing good? How was your week? It was so cool, man.
It was just, like, yeah!”
Then you gotta say like and hello and how cool was it, and they go like that. Well,
that’s pretty cool. Kind of like a geek handshake. Cal-State Cool. The thing about
Cal-State Cool is that it never ends. It just keeps going. See? It just keeps going. If
you want it to stop, then you want to go to the surfers. Surfers, they’re pretty funny
guys and gals.
[surfer voice] “How you doing? I’m doing, I’m cool, man. I’m doing good."
That’s a New York surfer. So if you put a straight, so a surfer kind of forgets what they have
to say a lot, so it’s like, "yeah, you know, it’s like surf was up yesterday. I got up
in the morning and I knew it was the morning because my alarm went off, you know? And then
I went out and it was like, man, there was, like, gnarly waves.” And then—yeah, that’s
a straight. They forgot. It stops it. So there is your straight.
So as you’re doing your drawing, you’re guiding the viewer’s eye through the drawing.
You’re telling them where to look. It’s not their responsibility. It’s yours. You’re
the artist. I want you to design it. I want you to make it better. You’re going to go
with curves, and that will keep it going forever. Then if I want it to stop I’ll put in a
straight. That’s your Cal-State bitchin’, man. “How you doin’? I’m bitchin’.”
Okay, so that’s your straight.
The transition between the two we’re going to call the wave. That goes like this. This
is your animation. See how this animates. Real important that you understand that. Let’s
say you’re walking along you have this side of a stream and that side of a stream. And
this side and this side. This is really far. So like if you’re on this side and you want
to get to this side, you’re going to get your feet wet. You’ll want to get your feet
wet. I’ve got to tell you something about me. I don’t go outdoors. Oh man, I need
some sunshine? I Google it. I’m an artist. I sit in my studio all day long. What I’m
going to do is I’m going to use the wave, and the wave is going to help me get to the
other side. Whoa, dude. See that? And it help me get from one side of the figure to the
next. We’re going to guide our viewer’s eye through the drawing by the use of the
wave. And it also smoothes them out.
So let’s say I’m in a Cal-State bitchin’ mode, and I have a straight, and I want to
pull out of that. I’m just going to come in with the wave. And it softens it up. That’s
all we’re going to use for the rest of our life. Three shapes, three notes. That’s
it. That gets you to the area of master draftsman. Clean it up. It’ll help your character design.
It’ll help your paintings. It’ll help your animation. It’ll help everything.
We’re going to scribble. Here is the head. We go from the nose straight down. Can you
guys all see? Now, when you’re thinking of the body, I want you to think of it in
the terms for which it was invented. Okay, this is a friend of mine, and this person
is a little bit, this is an LA person, a little superficial. Have a cheeseburger. Basically,
what we’re dealing with here is just some units. This is called the head. This is your
rib cage. Notice that the head and the rib cage are not connected. But don’t worry
about this part. From the rib cage we have this area here called the pelvis. The pelvis
is not connected to the rib cage. They’re separate units. You only have three. But what
is really fun is over here. Okay, hi. These are way far away from this rib cage.
We are not going to connect our extremities. Are you listening to me? Do not connect this.
I don’t care what book you are looking at. Do you agree? Yeah. Yeah. Do not connect.
You’re going to float these extremities. We’re not going to put in joints. We’re
just going to do one bone, two bones, and lots of bones. One bone, two bones, and lots
of bones. What you’re going to find is that the human figure is really very simple. Three
shapes, extremities that are not connected. Where you’re going to connect it will be
with the Cal-State Cools.
So now, here is our straight line. Here is going to be a shape for the head. Do not draw
it straight on the line. Now come this way. Put the rib cage here not on the line. Now
come this way. Everything is off the center line. Do not draw it on a center line because
that’s going to stiffen your drawing. This is going to immediately make sure your drawings
have a nice loose feel. Okay, so we have that. Now, the leg is one piece here and another
piece here. This has to get under the nose. The nose knows where the weight is. Follow
the nose. The nose knows. So if I stand like this. Everybody stand up. I’ll wait. Are
you standing up? Okay. Put your weight on both legs. Draw a line from your nose straight
down. Look at it. It’s right between both legs. Your hips are straight
and your shoulders are straight.
Now, if I do this and I go like this I look awkward. Yeah, smart. I look awkward anyways.
I heard you. Now, I put my weight on this leg. This hip is high. This shoulder is low.
But my nose is over the area that has the weight. Put your weight on your left leg.
Notice your left hip is high and your shoulder is counter. Counter posture, counter to that.
You got it? We have that. This leg, you can do whatever you want with. The arms are going
to float. Keep them far away. See that?
I work in this really fun, lively career. It’s called homicide forensics. Yeah, I
do a lot of still lifes. One of things that’s really interesting is that today with your
Maya and your 3ds Max you have these rigs. Your rig is based on this guy right here and
how a normal human moves. Now, I have a photo of a model. He was in the class, and he says,
hey Sheldon, watch this. He was able to turn his feet where they’re facing behind him.
That’s the perfect crime. Imagine that all of your evidence is in front. All of the blood
splatter is going forward, but the footprints in the carpet are facing back. All you need
is doubt. The person walks. The perfect crime. That’s why I’m saying to you do not connect
the extremities. There are people out there who have very loose joints. We’re going
to play with that, and we’re going to put a lot of rhythm into our drawing. So now,
there’s your figure.
Then we’re going to go in and we’re going to connect this with our Cal-State Cools.
This is your anatomy. It gets subtle. I mean it gets really subtle. It moves on the inside
too. That’s where it’s going to get really fun. I want you to start thinking, all of
you, what I notice because I’ve been teaching here for a long time. They always draw the
body on the outside. They don’t do anything on the inside. Now, you’re probably wondering,
what do you do with the other areas that don’t have these curves. You put in straights. Then
you get this really pretty design. There you go.
Okay, the proportion, though, we need a unit of measure. We’re trying to find areas that
are consistent like, you know, the finger versus the nostril. That could work. But,
you know, it’d be kind of weird to say that figure is, you know, like 52 nostrils high.
It turned out that after all the research they found that the best unit of measure was
the head, and they use the same for cartoons too. They use the same for cartoons too. What
we’re going to have here is 7-1/2 heads. From the top of the head to the pubic arch
right here. And we will say pubic here. There is a private university that doesn’t allow
that term, so we call this the MBA: middle body area. But, I think you guys can handle
the term pubic, so this will be the pubic arch. This is your halfway point, and as your
looking at it from behind, because if you’re looking at it from behind the butt hangs lower.
Here will be the pubic arch here. That’s where the butt hangs lower than a pubic arch.
So we’ve got that song, does your butt hang low as you’re going to and fro. That’s
where that really cool song came from.
We’re going to go one head down to the sternum. This is your sternum right here. We used to
say one head down to the nipples. We found that with certain models nipples were hanging
down here, and when you measured one head up they had really big heads. It didn’t
work, so we changed it. That’s funny. That actually even applied to some of the women
in the room. We’re going to one head down to the sternum right here and another head
down to the navel, which is somewhere around here. Does that tickle? Yeah, that tickles.
And then one head down to the pubic arch, otherwise known as the middle body area, the
MBA. Some schools are sensitive about using anatomical terms like buttocks and stuff like
that. I’m going to give you some terminology to use. This will be the head. These will
be the breasts or the boobies. Okay, so we’ll do that. The nipples we’ll just call nipples.
This will be the belly button. The pubic area on the front, we’re going to call that the
whoo-hoo. Okay, that’ll be the whoo-hoo. That was not allowed at a private school,
but we’ll use it. The other side is the poh-poh. So we have the whoo-hoo on the front
and the poh-poh on the back. The poh-poh hangs lower than the whoo-hoo unless you’re like
60, and then your whoo-hoo could hang lower than your poh-poh. But that’s a different
commercial for a different time. Those will be your anatomical terms for those sensitive parts.
Alright, here we go. So now we’re going to go one head down to the sternum, and then
we’re going to go one head down to the navel and one head down to the middle body area,
otherwise known as the whoo-hoo region. Then it’s going to be a head and a half down
to the knees, and a head and a half down to the bottom of the feet, netting out 7-1/2
heads tall. This is for the ideal figure. Let’s see, your cartoon characters. They’re
usually 2-1/2 heads tall, the real cute ones. You know, it’s like hi kids and welcome
to our show. I’m 2-1/2 heads tall. Okay, so that’s that. Then if you get to your
tinky-type characters, you know, with pixie dust they might be like two, maybe three heads
tall. Then your Christopher Robin kind of characters might be five heads tall. Then
we you get your superheroes like me I’m ten heads tall. So we’re going to measure
by heads. Go it? Okay. So that’s kind of cool.
If you’re going this going back you count the heads going back. So, if we’re going
this way and then we go back; two, three, four. There is our middle area, and then you
can bring the legs like that. This will be a person bowing. Thank you. Thank you very
much. So that was a way of doing your proportions. You can actually just draw the heads going
back, and life is good. Okay, so those are your proportions.
all fighting gravity. I really think that that’s pretty much what you guys need to
be thinking about when you’re drawing the body. We’re fighting gravity. That’s why
we have the balance with the nose. The nose knows. But think about what would happen if
we didn’t have gravity. First thing that comes to mind is that this part here which
you’ll see hopefully go away as the summer progresses, I won’t have to worry so much
overlapping my belt because it will float. I would think probably one of the largest
industries in the world would immediately go away, which would be the Victoria’s Secret
push-up bra, because now it would be the Victoria’s Secret push-down bra. Again, that even applies
to, you know, a lot of the women friends of mine. Everything is gravity based, and you
want to start thinking about how the body is set up.
Let’s think about this. Draw a line. The head is always forward, so we’re going to
go like that. It doesn’t matter what shape you’re going to do, but it’s forward.
Okay, you got it? Now, the rib cage is going to go this way. Just keep it off that center
line. That’s it. Real easy. There is your rib cage. The pelvis is where things start
to happen. Now, if the pelvis is straight that’s a dude. That’s a male. If it’s
at a curved angle like this, that’s a female. Then you’re going to Cal-State cool from
here. So we’re going to the top of the head to the pubic arch, the pubic arch down to
the feet. Those are your proportions. That’s your balance. Then you’re going to go like this.
You’ll see what you have is this wonderful pinball machine.
Okay, so that’s for your balance.
Gender-wise, what you’re going to find is that the female has a narrow rib cage, 60
degrees, and a wider pelvis to house things that grow. The female’s clavicles are slightly
down given the illusion of a longer neck. When you’re drawing the female, draw a longer
neck. Wider hips. Bring the poh-poh back. That’s why they came up with these high
heels, which was designed probably by some guy. What it does is it tightens up the calf
and the quads and pushes the butt up.
The male is going to have a wider thoracic arch and a narrow pelvis. He’s going to
have a flat poh-poh. That will be more flat like that, and then
the same thing. That’s for your genders. That’s it. The female skull is a little
bit rounder and a little bit smaller. Male is a little bit more angular. We’ll get
into head drawing. The male mandible is a little bit squarer. Little things like that.
But for the most part this is going to be what’s going to make the difference. Then
the most important is the balance. I think one of the things I’m finding the most trouble
with all the students, and I have hundreds of them a week, is that the head needs to
go forward. The next goes forward. Even if it doesn’t look light. Like in the movie
Legally Blonde they have a nerdy guy in there and they have this head going straight up.
It makes people feel really stiff. Okay, so we’ve got that.
Now, how do you do it? The answer is I don’t care. There is nobody walking around the studio
with the gesture pulleys going “Uh, uh, you didn’t do your gesture properly.”
I think that’s probably going to be the thing that’s going to free you guys up the
most. As long as it has weight, balance, proportion. Who, what, why, and how. Who is this person?
What do they do and why are they doing it? That’s what we need to know. That’s going
to apply from everywhere from film, video games, forensics, portraiture, everything.
You have to know who you’re drawing. Weight, balance, proportion. Who, what, why, and how,
and motivator. Motivator is real important.
So, what’s the motivator? The motivator is going to be the part that has the most
energy, bearing the weight. I like to call it the ouch factor. You know, ask the model
which part hurts. You know, say if you were to hold this pose for two hours, what part
would have excruciating pain? They might say my shoulder. So if that’s the case, then
the shoulder is where you start. That’s the motivator. Then the head will be over,
the nose will be over that hand, and then we can come this way.
That would be the motivator. What you would do is have the shoulder going way up here.
Remember, this stuff is not connected to the torso. We’re not going to do—there are
a lot of books out there that shows this. They’ll have the head, the mannequin, and
they actually draw the shoulder connected to the arm or to the body. Don’t do it.
It’s going to stiffen up your drawing. You’re going to have these people walking around
like this. We want to get rid of this and just start here and let it flow. If I’m doing a dancer and
they’re pushing out this way. You’ve got this dancing pose really pushing it out. The
motivator will probably be the hip coming this direction. Then you can do a secondary
motivator because it’s always going to be law of opposites. That’s going to be coming
out this way. Law of opposites.
Okay, what does that mean? It’s basically Newton’s law of motion. A couple of weeks
ago I was walking home from my school and I hear this voice. I turn the corner, and
there—we always have to establish—we’re going to establish our shot. There is this
two-story building, and the building is ablaze. There is this woman on the second story, and
she’s yelling, “Help me! Help Me!”
So I run up the building and I look up and said, “Jump, my fair lady, for I will catch you!"
“Are you a fireman?”
“No, lady, I’m an animator. But what the heck, jump anyways.”
So now she’s standing on this two-story building, and she’s got the balcony, and
it’s about to here. So now she’s at rest. Anything at rest is going to stay at rest
unless acted upon by an outside force. If you have a figure and it’s standing like
this, it’s standing there. In order for it to move it needs to go in the opposite
direction. When you hear me say law of opposites that means every action has an equal and opposite
reaction. In order for her to jump she’s got to do like golfers do. You know, they
go this way to go this way. Same thing with her except she’s not talking about her strokes
because she’s on fire. She’s not thinking about that. What she does is she goes backwards
and she jumps. This is the first time I get to see her, and she’s in the air. I look
up and I went, “Uh, this is a big mistake,” and I yelled out, “big lady!” This woman
was, she’s a big lady. The shadow is all over me, and she’s just coming toward me,
and I’m like big lady. Now everything in motion, and she’s in motion, and I’m like
big lady. She’s coming at me and I’m like big lady, big, big, big lady, and I jump out
of the way. Wham! Everything in motion stays in motion until acted upon by an outside force,
and the outside force is the—you’re right, the ground. Well, about this time there is
a crowd that’s gathering around. I look at the crowd and I walk over and I look at
her, and I say to the crowd, “You know, it’s interesting, her mass is the same,
but her shape has changed.” That’s everything you need to know about animation. That’s it.
Everything at rest will stay at rest until acted upon by an outside force, which means
you get pushed or you have to anticipate, step back to go forward. That is every action
has an equal and opposite reaction.
If I step back to go forward what’s the motivator? Could it be the hip pushing me
forward? Could it be the leg? Could it be me telling my friend over here, hey, hold
tight, and I use his shoulder and I push. That could be the motivator. Where do you
start your drawing? Start at the motivator. Now, wake up, everybody. Listen to me. Why?
It’s real simple. We’re going to be registering our drawing. If you have a figure and it’s
in a room, and the arm is around this guy’s neck, you’re going to have to start there.
If you start at the head and then you start drawing all of sudden he starts moving out
of the way. It doesn’t work. If you have a drawing and it registers to something you
have to register. You have to be able to register it. You have to be able to draw the figure
from any point, anyplace on the body. I’m going to say to you start your drawing from
the motivator, and the motivators will change.
Now you have everything at rest stays at rest until acted upon by an outside force. The
outside force could be this person pushing me forward out of the scene, or it could be
every action has an equal and opposite reaction. I’m going to anticipate to go forward, and
then I’m going to react when I’m done and then settle back. Or, the outside force,
which is the ground or a wall. You’re in motion, you hit that outside force, and then
you come back. The shape has changed, but the mass is the same. When you’re drawing
you want to make sure you’re looking at your proportions, and those are your masses.
If your proportions are off, you’re in trouble. When the proportions are off, you stare. We
look to where it’s different. We look to where there is contrast. We want to make sure
when we’re drawing this figure we are checking our proportions every 20 to 30 seconds just
like driving in a car. When I’m drawing and I’m looking going back here, maybe the
motivator is this way. Then the secondary motivator would be like this. Then this motivator
would be like this. The secondary motivator would be like this. See? What it does is it
really allows the eye to move. That’s the key.
So, gesture, construction, anatomy, technique. As I continue to throw this information on
you, gesture is going to be weight, balance, proportion; who, what, why, and how; and motivator.
Start with an ideal. I want you to come up with what you consider to be an ideal figure.
I want you to be able to draw it from any position at any time. Let’s say we start
with a nice scribble, just trying to get the idea. I’m going to be showing you lots of
different ways to do this. There is your weight and your balance. There is your figure. From
here to here it’s the same. It’s one head down to the sternum, one head down to the
navel, one head down to the pubic arch. And there you go. On top of this, you’re just
going to draw what you consider to be an ideal figure. So for me, it’s a female, it’s
a narrow rib cage. Not much in the chest area because I want to be able to—sometimes I’ll
draw a female and then convert it over to a male. Let’s say I have a really nice dance
sequence, and I’m just—I don’t know, when I draw females they have a lot more rhythm—but
it’s a male. I’ll actually draw the female, and then with just a few little changes it
becomes the male. So we want to be able to make sure that there is not a whole lot of
difference between the two in the gender.
Also, because I work in forensics there are only three different skulls. The difference
between one person and another person is about 20-30%. There is not that much difference
between one person and another person. We’re all the same, and we all love each other.
So we go like this, and then we go here. Okay, the distance between the bottom of the rib
cage and the top of the pelvis is one fist. Here we go. The person is looking this way.
Hit the landmarks. Sternum. Neck, sternum, navel, pubic arch. That is my hieroglyphic.
This is how I start every drawing I do. From here I can go anywhere. This probably weighs
110 pounds, but now let’s go to a 140 pounds. We’re going to get a little bit more round
here. Breasts are going to get a little bigger. At 170 pounds were going to get a little bit
more of a double chin. Okay, 220 pounds, a little bit of a stomach here. More here. At
290 pounds we’re going to bigger here, bigger here; 320 pounds will be here. You know, at
400 pounds everything just starts to come together. If I’m going to draw a person
who weighs 400 pounds I’m going to start with a person who is 120 pounds and I’m
just going to add on. And that’s it. If I change the proportions…
I could have a cartoon character.
Would I ever draw a human figure first and then convert it to a cartoon character? Yeah,
because sometimes I’m just more comfortable drawing and animating a human figure. Just
change the proportion, it’s the character. Now, real important, real important. Everybody,
listen up. If this is where you start, and this is the perfect drawing, perfect. I think
people today if they don’t eat like I do live to about 91, 92 years old. This is 91
years old. You are going to go through your life that you’re never going to learn all
of this. You’re start your career about here, with this much knowledge. I think this
is the most important part of what I can teach you. Don’t try to master it. Nobody ever
has. You have some people teaching on this site who have come pretty darn close, and
you know who they are. I’ve studied with them all my life. So relax. It’s a journey.
Every day you wake up and you learn something new. Study. But don’t ever think you’re
going to master it. Nobody ever has, but let’s enjoy the process. I’m trying to. Okay?
it’s like when does something grow out of it. When you do a still life it’s things
growing out of things. Let me show you that real quick here in the corner. Look at where
the grapes are growing out of the bottle. Now look at how this apple is in front of
the bottle, and the bottle is growing out of the apple. That’s what we have to think of.
Even when you’re drawing out of your head you have that.
So we have the line of action. That’s what we’re going to use on this one because we
haven’t used it yet. You guys in animation will be like the line of action, man, I’ve
got a line of action. I’m like, sorry, but there is no one line of action. In this case,
what you’re going to see is a lot of lines of action. You know what we should do? Hey,
everybody, let’s go back all the years of animation. We won’t call it the line of
action anymore. We’ll call it the lines of action.
Oh man, that’s like really fun. We’ll just add an S. The lines of action. There
is no one thing that works. There is no magic pencil. Okay, so that’s our lay-in. Now,
what we’re going to do is break this figure into shapes. Remember, from what we talked
about, you have three shapes. Circle, box, cylinder. I’m going to review. You have
three notes. Cal-State Cool, Cal-State bitchin’, and the wave. Real simple.
Three is the magic number.
Now, we’re going to draw just the shapes. This is a circle that’s been cut. I want
to go circle, cut. That’s a face. The neck is going to be a cylinder. It’s kind of
like a song. Let’s see if we can do it. It’s getting a little late in the day, but
I think we can probably get it done. Two, three, four. I’m in the mood for drawing.
Hey, how about you? Hey, hey, what do you say? I’m going to learn to draw today?
Hey, hey, what do you say? I’m only going to use three shapes. And those are simple shapes.
Yes, ladies and gentlemen, sing along. Shapes, shapes, simple shapes. Everything is made
of simple shapes. Shapes, shapes, simple shapes. The shape of the leg is a cylinder. The shape
of the other leg is a cylinder box. The shape of a hand is a box. The shape of the rib cage
is a cylinder box. The shape of the scapula is a triangle. That’s it, just simple shapes.
There you go.
This lay-in was done just very simple graphic shapes. The wonderful thing about graphic
shapes like this I that you can repeat them over and over again, which means that you
can do sequential art, which means that you can animate them. Straight, curve. See? Curve,
straight. Then we go straight, curve. Pull that here into an S shape. Straight. Curve.
Here I want to get power so I’m going to go straight. Now we’re starting to think
about design. See that? It’s real simple. I want to put in more detail as if I was to
move forward. Then I could come in with another color. That’s one thing I want you guys
to start freeing yourself up one. Relax. Use as many colors as you want.
This is fun. This is a really cool pen. It’s basically a Pentel, and it’s a GFKP, and
what it is is a brush pen, and it’s my favorite brush pen. Here we go. I’m now going to
do this drawing, but I’m going to think about it in shape, and then we’ll put in
the lines. Let’s see what we can do. Here we go. We have the shape of the hair. Face.
Then her scapula is here. I’m using shape for my lay-in.
These lines here are your cross-contours. They wrap around but I’m only touching it where I want to.
Feeling the rib cage shape. Center line. The reason why this is a lay-in
is I can still make changes. I haven’t tied it totally down. So here’s the rib cage.
It’s going back. Here is the pelvis going back.
There you go. So that’s a gesture because it’s a story. Even though I’m adding a
lot of information to it, I’m using the unions. Each union is important, but I can
make changes. Let’s say the definition of a gesture is a story, a drawing that’s a
story that you can also make changes to. See the lines the like that? But now I can go
ahead and put the thumb there, put the fingers there. Need a foot here. Okay? There you go.
So that’s another one. Let’s do some more.
This is hard. We have her face, which is right there. Looks just like her, doesn’t it?
Neck is going to go back because she’s got her neck straight up. If you draw that neck
going straight up I know that you’re copying. There are certain traps that we’re going
to put in your work, or at least I’m going to do, that I know that you’re copying the
pose, and I can’t hire you if you’re copying the pose. You have to be able to invent the
pose. Bring the rib cage this way, pelvis this way. Right there is her knee. Right there
is her foot. Right there is her knee. Right there is her foot. There is her arm. There
is your lay-in. Okay, that’s all we need.
Now, from here start hitting the landmarks. Maybe right here. Pit of the neck, come on
down. Sternum. This way, navel. Pelvis. The hip coming up here. Here is the knee right
there. Just start adding information. Don’t have to commit too soon. Here is the knee,
but you have to draw through. You’ve got to think of your figure as if it’s made
of glass. Alright, so now we’ve added more information to the lay-in. That’s what I
think—complete repeating over and over and over again. This is—we build our drawing.
Animation is a breaking down process. Painting is a breaking down process. Drawing is a building
out process. We start with the soul of who the person is, and then we start building
out from the skeleton to the muscles all the way through. Each step along the way is going
to add to the narrative. It pushes your story. I’m leaving the art out. Just drawing the
rib cage. Then I’m staring into the pelvic area here so now I can use a cylinder if I
want. There are different schools of drawing. You guys are going to be seeing them. It goes
back into the history, like Bridgman, and they’re very boxy. Vernon Wilson was very
much into the cylinders.
For me, at my school, and here now at New Masters, I’m going to teach you all of it.
This is going to be the first school of drawing that’s going to literally combine oil and
water. We’re going to combine schools that just don’t like each other. Not those two;
those two do fine, but there are some schools out there of drawing that just don’t like
each other. I was lucky to study with all of them and piece it together.
So you’re going to get it all.
Okay, so we have the leg here. That’s the first part of the leg. That’s at the top,
and then here’s the bottom part. Here’s the knee. Yeah, at my school, and that’s
a fun thing that we’re combining our forces here, you know, my school and New Masters
and everything. If it works we use it. No room. No time. If there is a tool out there
that we can use, you know, a visual tool, a drawing tool, we’re going to use it. We
don’t have room or time to waste.
Here we go. There is your elbow, and then the hand is going to silhouette. I want to
keep it away from that knee so that the whole drawing will silhouette. I want to keep it
away from that knee so that the whole drawing will silhouette. Silhouette it crucial. We
have an anatomical poster at our school, and it’s really funny. If you were to color
it in the figure is standing sideways, and it’s anatomy has the thumb right there and
the hand, and it looks like Mr. Winky. It’s really funny, and they never noticed it because
they did the whole drawing, all that anatomy, and they never notice that by placing the
hand here and having the thumb poking out turned a very docile anatomical poster into
something that could be construed as kind of edgy. Pretty funny, huh?
So we want to be thinking silhouette. I want to get as much air in here as I can so that
if you color this in it reads. Really important, and that’s called silhouette. What I’m
doing—if you notice the fingers in the pose, and we have photographic distortion here.
Here hand is half the size of her body or a quarter size of her body. But if you notice,
what I’m doing is I’m making it simpler. Like here is her pinky, and them I’m grouping
the other fingers here so that it silhouettes. Everything needs to silhouette. Even here
I’ll use the shape of her breasts off to the side like that, and I’ll silhouette
this against her arm just like that. Really important. The knee will also silhouette against
her arm. We’ll see what we want to do with that hand.
Now, looking at this it seems to work. I have the rib cage here. But take a look. Her head
is still going pretty straight. I don’t like it, so what I’m going to do is bring
the head forehead and see what we can do. That’s where the scribble comes in.
Very clean shape for the hair. Now I’m going to do some design. Come this way. Straight,
curve, straight. Notice how I’m drawing through. There we go. That’s a lay-in.
Okay, from here, kinda fun. Go for finished. Okay, so this is a lay-in that’s used with
shapes. How shapes move in and around each other. That’s lay-in number two, generally
used for complicated figures that are kind of crouching.
What you’re looking at here is a figure that’s lying on the ground. This is actually
probably one of the most difficult lay-ins to do, and it’s all based on very sad stories.
You’re driving down the road, and here’s your road, and these little gerbil characters,
these little like animals, they’re crazy. I don’t know if they want to kill you or
kill themselves. I was driving down the road minding my own business, and I saw this gerbil
character run into the road, and a car hit it. It shocked me. It really shocked me. I
pulled over and I ran over to this little gerbil, and every time I get close to it I’d
have to back up because another car would run over it. I’m like, oh my God, you know,
maybe I could do some CPR. I usually keep a Frappuccino fairly close by for myself.
I believe that most people probably have died years ago, but the chemicals in the Frappuccino
just kind of keep you mobile. I took my straw and I started blowing into the mouth of the
gerbil, and the leg went up. That doesn’t work, so I blew into the leg, and the tail
went up. All of a sudden some cars were coming so I jumped out of the way, but another gerbil
friend came over here to try to help its friend, and the car ran over that. Now I’ve got
two gerbils and they’re laying on top of each other, and I’m like what am I going
to do? I gotta do CPR on two Gerbils! I run over and I put my straw in the second gerbil,
and I blow into its mouth, and the first Gerbils other leg went up. I’m like, you know, come
on guys. Give me a break. So finally, enough cars ran over this gerbil, and the gerbil
was flat. That’s kind of what it’s like when you’re trying a model lying on the
ground. If you draw them and they’re flat, it’s hard to make them solid once they’re
already flat. So what I found best is don’t draw them scribbly and don’t draw them flat.
Just go straight to form. That’s the third lay-in. Don’t worry, I can hear you all
out there going but we didn’t cover form yet. We didn’t cover construction. Relax,
I hear you. Don’t worry. We’re going to get there.
But, these things kind of interwind, and I was very frustrated with my training a lot
even though I was trained by the best because you had to wait years to find the answer to
what was in the beginning, so I’m just trying to help you guys get there faster, okay? Let’s
do a little scribble first. That’s the head. That’s the rib cage. That’s the pelvis,
leg. This is called the graphic footprint so I know where it fits. That’s it. So here
you go. So that’s our graphic footprint. Now, I’m going to make it go back in space.
I’m going to start with the pelvis. I’m just going to go straight to form. Now, the
drawing will end up being a little bit stiff, but don’t worry. We can loosen it up. How
do you loosen it up? I don’t know. Sounds kind of cool. Hey, it could be Cal-State cool.
What do you say? Cool up the drawing. Add some curves. What do you say? Curve versus
curve. Curve versus straight. Well, that’s bitchin’.
Alright, here we go. So, we’ve got it like that. So now we have this shape here, and
I’m looking down so I’ve got to find the corner. Run to the side plane, the safety
of the side plane. There we go. Now, we go this way and this is a rib cage shape asking
to go like that. Then we go to union. Hey, union. There is your scapula. Then the neck
is going to go back. It needs to have a head, so there you go. We have another scapula going
this way. We’re going to get into all this anatomy here later. There we go like this
and then back up like that. Now, this leg is going away so we go like that. This leg
is going straight. Then this leg is going back.
Now that you guys are kind of getting into my class, we need to go ahead and do the disclaimers.
For any people who are insulted by any part of this class, I want you to know that I have
friends. I have friends just like them. Some of my best friends are what you were insulted
by. Relax. It was a joke. You’re going to need to have a sense of humor to take this
class, and I’m shocked at how many of today’s students are just boring. They have no sense
of humor. So, we kind of leave them aside. Just know that if you’re easily insulted
in this class you will be.
So now you have your lay-in, but it’s already solid. Whoa, dude. So you’re starting with
it solid. Whoa, dude. So you’re starting with it solid. Yeah. Whoa. That’s like tubular,
man. Okay, here we go. What was that lecture about tubular? What was that? I do these lectures
and I forget them. We go here, here, here. Boom.
I’ve got to remember that one. It did this lecture. I kind of liked it. It was like this.
Let’s go ahead and put this in. Don’t worry about starting. You know, you can do
a drawing like this and just do it really loose and rough like this. Then you can come
back in and put in the other secondary shapes, the union shapes. Here we go. This overlaps.
Bring that around.
Two dots. We’ll get into those. The anatomy. Then we’re going to
have this leg behind here so it goes like this. Then we get the structure later. It
feels like that. Okay, so it goes like this. This lay-in is actually very solid. This fits
in here, and this comes around here. This fits.
You see how everything is starting to fit together?
Okay, see that? And then the cross-contours are going to give you your
form, but we’ll get into that later.
Okay, see that?
the other direction, which is kind of cool. Then we’ll do another one here and we’ll
call it a day. Same thing. Does not make any difference. Here is the face. Here is the
arm, rib cage, arm, navel, belly button. Look at that nice, straight line. This is going
to be fun. The pelvis is—no, we’re at that left hand turn lane. Let’s see, I’m
going to make the pelvis go back. That I think is the most important thing. Stop and make
a decision. Just make a decision. I’ve been giving a lot of lectures to my students about
sheep, people being sheep. They just want to be told what to do. Life doesn’t work
that way anymore. Make a decision and go with it.
Alright, so that’s my graphic footprint. This is the amount that the drawing will occupy
on the actual paper. Real important. I know that you guys are saying I’m working on
Cintiq. I’m working in Photoshop, and I can scale it. Yeah, that’s fine. But by
the time you do that, us old guys will already be onto the 20th drawing. My students will
be the same. Do your due diligence, learn it, and life will be great. I can show you
a couple hundred students who don’t want to learn it. I want to run from them. I’m
done. Straight line. That’s the rib cage. That’s the top. I can see this side. Look
at where this breast right here is falling over the side plane. That’s a pretty good
indication. I don’t care how you put it down. Just go for the mass right from the
Now, this figure right from the start is solid on the ground. It is not flat, and that’s
going to save you guys a lot of grief. The pit of the neck is over here just rounded
out because I have a rib cage. Now, the next step over here is going back so we’re going
to go pit of the neck coming down over the sternum, around the navel. Get a nice twist.
We’ll get into the twist a lot with the torso. Now I’m going to see this side of
the figure. That’s a heck of a twist. So now we’ve got this real pretty twist, and
this is going to come this way and into the pubic arch area right there. It’s going
away from me. I can see inside of this pelvis area, this pelvis girdle. The head is going
to pull this way. When we get to head drawing I’m going to show you a lot of tricks on
how to draw the head right off the neck. Here is the face here. This arm is going to come
toward us. I’m going to float it. I’m going to float out this arm. It’s going
to go back. Maybe we can do that. It might be a little tweaky. Let’s have it continue
to come forward.
Oh no, you changed the pose. Yes, I did. You will burn for that. Okay, so there you go.
Then we’re going to go this way, and then this is going to come toward us. Really light
because I want to nail the rib cage first. The whole torso first.
Then we’ll put in the rest. I can just picture someone out there going I’ve finally got
Sheldon. We’re going to send a note to his wife and say your husband is nailing strange
torsos, or they’ll send it to me saying, give us a $100 billion dollars or we’re
going to tell your wife you’re nailing strange torsos. I’ll say go for it. She’ll just
go, yeah, so? Look at that beautiful rhythm right there. Hmm, towards us. Did you see
that a decision had to be made? Let’s tell corporate America about that. Make a decision.
It’s going toward us. Oh my God. Really? You made a decision? We did. There it is.
Okay, so there is your lay-in. It’s just all structure.
Then you do have to put in the Cal-State cools. You have to put in the rhythms, and you have
to put in the shapes. All three lay-ins have all three of the elements. They just seem
to work better when you’re using them for what’s benefits. Okay, so just because we
started with the structure doesn’t mean that we don’t go in there and throw in this—look
at this Cal-State cool here—and throw in the other elements. When we get to the structure
is when you get to start using the breasts because they’re great tools for showing
mass. It’s perfect. You could call them mass machines if you want, but be careful
on the beach walking up to young people and saying I really like your mass machines. You’re
going to get arrested. Oh my God, they’re going to kill you, and you’re going to go what?
It’s drawing, man.
So, here we go. Here is the side here. There is a side there. This is your roller coaster.
You want to think of the figure as if it was like a roller coaster in a theme park. You’ve
got these nice flows. I was at a theme park about a month ago, and I heard this little
boy and he said, mom, I want to ride the ride. I want to naked model ride. You know, as a
female naked woman. She said, I’m sorry sweetie. They have a height requirement. She
says you’re not big enough to ride the naked woman. She says, but mommy, I want to ride
the naked woman. When will I know when I’m big enough. She said, you’ll know, sweetie.
Oh, you’re going to go to hell for that one.
Okay, here we go. Hey, it’s the internet. Welcome aboard. Okay, there you go. Come this
way. There is a private school out there that would say, Sheldon, you’re seeing the dean
again. I used to love the dean. I used to go into the office, and he would tell me all
the things I can’t do, which was all of them. There you go. Okay.
So now we have the structure. So it starts solid and it stays solid, and it’s solid
because you can put a cross contour on it. Look at that. Oh my God, I’m like an ant
crawling over a naked person’s body. Here we go. Look at this. This is coming toward
me. Toward, toward, towards. Away. Away. Think of it as a cheerleader. Push it back. Push
it back. Push it back. Way back. You can use your cross contours for that.
Alright, let’s move on to the last one, hopefully without getting arrested. You notice
how these drawings, by the use of the solid forms really, really work. Now just start
wherever you want. I’m going to probably put the head down. I want this to have more
drama. Okay, so I’m going to start with the scapula. You’re going to find this school
that I’m putting you guys through slightly different than some of the others. You might
even be saying, well, wait a second. You’ve studied with these other teachers, and I’m
very proud. I think one of the greatest compliments I got was a compliment from Glenn who said,
Sheldon, I’m really proud you no longer draw just like me. I’m combining so many
different artists. The people I study with now the most are my students. It’s really
interesting. I have the greatest students in the world. They’re just so talented.
They start with me and they move off into all these different colleges, but they come
back during the breaks. Right now it’s the breaks. Look at that overlapping line right
there, see? This is the shape. The best teachers I have right now are my students. I live for
them. I love them. They’re my life just like my own kids. You’re finding an insane
amount of different teachers.
Here on the ground it’s curved. We’re going to make it straight. It’s really going
to plant her right on the ground. Boom, boom. Then we’re going to go back. Side plane,
right there. I’m going right for form. This right here is real important. This is C7,
cervical vertebra 7, and it’s a landmark. I’m going to pull the neck down from there
and really have this person, just drama. Really fun. Now what we’ve done in this drawing
is we’ve combined all three. We’ve combined the shape, all the gestural tools of the three
notes; musical notes, the cool, the bitchin, and the wave; and the form all in one lay-in.
And later on the technique. There we go.
we see how it all applies. I’m going to use the tone of the paper as my local value.
I’m going to go dark into my—let me show you right here. This goes from really dark
into the paper, then out of the paper into here. That’s my range of value that I’m
going to use. In every session we’re going to end with a nice, long pose.
Again, same thing as before, just a nice lay-in just to try to get the figure to fit. That’s all.
What’s the story. I want to bring the head down. This is where you make your decisions.
That’s it. That’s the lay-in. So from here we’ll now go to shape and form. We
might leave that head for last because I’m not sure what I want to do with it. I’m
not sure I want to make it dramatic or not. We’re going to go to the airport. We’re
going to put our finger right there, right up here to the neck. We’re going to walk
on down. We’re going to find that sternum. We’re going to walk on down again. We’re
going to find the navel. Then right behind that leg it’s a pubic arch. Then we’re
going to look for those landmarks. Every line pushes the narrative, so we’re going to
bring this line up. It shows the pectoralis. Because this arm is going up the breast is
going to be oval like that. Because this arm is down this breast here is going to be round.
Right there gives us design. Also, the same. The nipple here will be round, and the nipple
here will be an oval.
Now I’m doing that ride at the theme park. I’m just treating the figure as if it was
a ride that you just, move on down, it’s like a roller coaster. The light is going
this way. I have my cross-contours, and that tells me where the light is. When I put my
light down I want it to animate, so I’m going to go like this.
See how these lines animate? That’s kind of your old school. Then the same thing here.
It's going up; then it's going to come down.
Every line I put down is a gesture. Pushes the narrative.
Here’s the sternum, a very hard bone. Rib cage. Very hard.
When we get down here into the stomach it’s softer. It’s longer. I want to leave this
area open here. Kind of have a nice lost edge. We’re going to get into all of that. Just
want to show you where we’re going. Really pushing this narrative. Box shape. Boom. Here
is the poh-poh, buttocks, and that’s where the leg connects. It’s a little half tone.
You need to know it’s there to look for it. We hit the side plane here. See how these
lines animate? Take you right down. See, they flow. It really is like a roller coaster ride.
Really fun. You will most likely never forget that lecture. Here we go. Say, oh my God,
I can’t believe he just said that. Then the student repeats what I said. At that moment
he just repeated my lecture. No notes. Total retention. It’s really fun.
Changing pose a bit. I’m adding another butt cheek, and I’m going to fit the leg in there.
The leg is going away so these lines go this way.
Also, remember, everybody, this is a course. We’re going to be pulling from the previous
lectures. If you don’t completely understand one of the stories or one of the jokes or
one of the songs, don’t worry about it. It will come together, I promise you.
I’ve been doing this for a long time. Just give us some time.
Really pushing this pose.
Take these lines and push them. Just push the line and bring it on down. Cast shadow which we’ll
get into. But you can also look back at the other videos and see what a cast shadow is.
All of my videos, they all work together. So go back to the fundamentals ones. Don’t
think that you’re beyond those. The fundamental videos that I do, I study that stuff every day.
Not a day that goes by that I’m not studying just the fundamentals. They’re real important
Now, this is really strange,but when I look at this head I think it wants to go this way.
How is that for changing a pose?
So that’s a pushed drawing. What we did is we changed it. That’s what I want to
show you. The use of a lay-in gives you complete freedom, and you do not copy the model.
As the great philosopher, Jiminy Cricket said, “Only let the model be your guide.”
Okay, real quick, a gestural long pose.
can see the line on their poh-poh. We call that the gluteal band. What we’re going
to say on this is how do you find the weight? Well, let the gluteal band show you the way.
Now the actual lay-ins, there are going to be three different gesture lay-ins. The first
one is going to be scribble. The scribble is there so that you can make changes. Now,
the reality is you’re going to use all of them. You’re going to use scribble, shape,
and form. Everybody write this down: scribble, shape, and form. That’s what drawing is.
What we want to do is use it. People are always asking, how do I know which one to use, so
we’re making it very clear. The scribble which is what I’m doing now will allow you
to make changes. You might be so much more talented than I am, but I don’t get it right
the first time.
Here if you look this is our flow. The nose is over here somewhere. Draw a line straight
down. Look, it goes right over the foot. This hip is high. The shoulder is low. Proportions
are working. I know the weight is right here because there is my straight line. So where
the weight is it’s going to have a straight line. Where the weight is not it’s going
to have a dropping line right there. Now, the next thing we want to think about is what
you see on my hand right here. The different tactile, how things feel. That’s what we
live for as artists. That’s a line and that’s a line. It doesn’t tell me anything, but
if I come over here and I draw the arrow like that, now it tells me what direction it’s
going, but it doesn’t tell me if it’s going forwards or backwards. If I come in
like this and I go like this, now I know it’s coming toward me, and it’s absolute. If
I go like this…now I know it’s going away. So these cross-contours are what drawing is.
That’s good English. These cross-contours are the key.
The next step after I get this done is to be able to say to myself what’s going towards
me and what’s going away. We know from the lecture that I did standing in front of the
room with you guys is that the rib cage goes in this direction, and the pelvis goes in
this direction. We know that the head, the neck, goes in this direction. What I’m going
to do is at the bottom of the rib cage I’m just going to draw this right here. This tells
me that the rib cage is going away from me. Then I’m going to come over here for the
other unit, remember from what we talked about, that the poh-poh comes toward me like this.
And now that’s absolutely clear. I can come back six, seven months from now and I now.
Also, I can put in a box shape like that and bam, I know that’s coming toward me. I can
put in a box shape like this and I know that’s absolutely going away for me. It has to be
The one thing that’s driving me crazy right now in education is my students come to me
and they say they have teachers, and they go I need an answer to my question, and then
the teachers says what do you think it is? Well, if I knew it I wouldn’t be asking
you, teacher. So, I want to give you absolute answers. The leg here is going away so we
go like this. Now, do I put arrows in my long drawings? And do I leave them in there? Absolutely!
What do I care? It’s for me. I just do it at a half tone, very faint so that it becomes
part of the drawing. I think subliminally you actually get to see it. You know, they
feel it. Then I’ll put a box shape there. I’m showing you the structure stage. So
for each gesture today I’m going to take it to structure so that you guys can see it.
Here is the poh-poh. Remember, the great Bruce Springsteen song, a real classic song that’s
done a lot to help us with our drawing, and this song is two butt cheeks are better than
one. So, two butt cheeks are better than one. Two butt cheeks will get the job done. So
you want to make sure you have two butt cheeks. I do know somebody who had one butt cheeks,
and they just walked in circles. We always knew where they were because we could prop
them against the wall, and they’d be there.
This right here, I want a straight line. When we get to anatomy you’ll see why. We’re
going to put a straight line here and then we’re going to add the leg and we’re going
to float it. This leg here is straight, so notice the curve of this line here, which
is your cylinder, and look at that. That’s a straight line which shows me hieroglyphic
wise that this leg is straight. Boom, nail it. Now, this leg is coming slightly toward
me, so I just go like this. Now, for my gestures this is all I do. So when I’m doing a gesture,
which is a story drawing, all I’m going to do is this, this, this, and this. I know
now that the leg is coming towards. I nail it. Don’t have time. Then we put a hieroglyphic
Now, hieroglyphic means that this is how the Egyptians work. The Egyptians used visuals
when they communicated. This is just your way to communicate so later on you can finish
the drawing. Here is the rib cage. Motivator. It’s this way and this way. So what I’m
going to do is I’m going to push that rib cage out just like that. Now here is where
you’re going to get into trouble. Here is the motivator. Here is the motivator. This
motivator is for the rib cage. One unit. Most people just draw the outline and the drawing
gets flat and boring.
I want you to start thinking of the body as almost like unions, you know, like unions,
you have movie. The movie is just an illusion. It’s a lot of unions all working together
to net out a movie. Each one is as important as the other. Just imagine craft services,
the food, that they don’t do their job right, and everybody who has eaten that food is sick,
you should shut down your film. What about the people who supply the latrines, the bathrooms,
the portable bathrooms, and those aren’t working? Well, they did their job wrong. All
these people need that. I also think of the body as unions. So this is your rib cage.
That’s a big union, but people are ignoring the smaller unions, and those are just as
important. So what about the scapula? The shoulder right here, the shoulder blade. This
arm is raising up. We’re going to get into the anatomy of this later, but I just want
you to start thinking of the different parts of the body.
This is Local 842, the scapula. Then like, [accent] “Hey yo, hey Tony, get over here.
Take a look at this guy. He’s not paying attention to the scapula. What are you thinking?
Do you want to drink a beer? Not anymore! You’re not raising your arm.” So this
shape here is equally as important as this shape here. I want you to start thinking of
your drawing as separate units all coming together just like this movie to net out a
finished film, a finished drawing. On and on and on. Here this one will go down. If
you’re going to be a painter or an illustrator, do whatever you want. I don’t care. But
if you’re going to work in the film industry, if you’re going to be an animator, if you’re
going to do sequential drawings, then you’re going to need to have a process. The drawing
has to be the same drawing over and over and over again.
What you see now is watch: now we’re going to combine them together. Scribble going down.
Coming toward me. Landmark C7, cervical 7 coming down this way away. Back this way away.
Straight, straight. Coming here, away. Away, toward, toward. Come to the inside. See? [Accent]
“Hey you, hey Tony? What? Look, he’s actually using the union. Good job. I’ve got a friend
of yours. You missing him? You haven’t seen for awhile? No. I tell you what, he’s swimming
at the bottom of the lake because he didn’t use the union.” Okay? There you go. Somewhere
out there is a guy going, hey, I’m union, leave me alone.
Okay, so you see how that works. That’s my lay-in. The lay-in actually has the information
in it. Now, we’ll continue with this scribble adding more information. All with rhythm,
all using those rhythmic notes. This will come inside the body like that. Thinking of
the total, thinking of the whole. Straight line, there is the weight. Boom. What you
see here is a lot of lines. I’ve had students come to me frustrated and they say my teacher
is telling me I’m putting too many lines, and I think of the movie Amadeus, when they
say to Amadeus Mozart you use too many notes, and he said which one, your majesty? No such
thing as too many lines. But in this case, every one of these lines does represent something.
Let me show you so you understand right here. Okay, here is your skull. Right here is your
trapezius. Here is your scapula. Supraspinatus, infraspinatus, teres major, teres minor. There
is your latissimus dorsi right there. Here is your erector spinae muscles. Here is your
gluteus maximus, gluteus medius, the coccyx right here. Hamstrings, semimembranosus, semitendinosus.
See how I put those in? Do you see the gastrocnemius? See this right here? There is your sacrum.
This is your Achilles. See how that works? Look at that right here. There is your deltoid.
This right here. This line right there is your scapula. Even though I’m scribbling—and
I want you to do it in different orders. I don’t want the drawing done in the same
order every time. It’s going to destroy your career. You have to be able to start
from anywhere. Get that flow. What’s going to give the flow is going to be these rhythms.
Now I’m going to move over to a black china marker, and I’m going to show you the rhythms.
Watch. See how that works? So this is all the rhythm, and now you can see it here. Then
it’s just the cross-contours. That’s what these are called, cross-contours. That’s
what this is called. These bracelets are called cross-contours. They wrap around.
got her rib cage going forward, pelvis going back. That’s what shows that it’s a female.
For all you people that are confused, if you see a pelvis or poh-poh that seems to be pushing
back a little bit and the rib cage going forward, you know you’ve got a female. If you’re
having problems with that, then I’d probably recommend getting out more often. Go to a
mall, see a movie. Do anything. Get out of your room. The lead we’re using is Cretacolor,
and it’s fun. This is sandpaper pad. You don’t have to use the pad. You can use anything
that’s sandpaper. Right here is a chamois, which is just like what you use for your car.
We’re going to get a lot of this Cretacolor on the chamois.
Now, the fun part about this is we can get the emotions in. We get the feeling. What
we want to do is we want to get that. That’s what going to give you your gesture. You really
want to be able to experience, you know, the different emotions. You got to a movie and
you’re happy, you’re sad. That’s from the artist. That’s the emotion. Even with
this, here is the head, there is the foot. Then we’ve got this leg going back, whatever
you want. Then she’s got her arms going back. And that’s a gesture. You can animate
like this. You can do anything you want. Don’t let people tell you that you can’t do something.
It’s all about just visual communication. Cool? Alright.
Now we have landmarks we’re going to deal with. So, she’s got her rib cage going forward,
so I’m going to go pit of the neck, and I’m going to feel my way down. It got in
big trouble doing this at the airport. Let me kind of share it with you because it was
embarrassing. The airport has great security. They actually give you coffee. I was at the
airport and I was doing a drawing of a person and I was having trouble with the proportions.
What I did was I got my lay-in down, and I walked over to the person that was standing
there, who happened to be a very attractive, not—she’s wasn’t too young, you know,
she was about middle age, and she was standing there with her family. I was having trouble
with the proportions, and I know as a trained artist that if I feel my way down I can get
my proportions. So I got my lay-in down, and then I walked over to this person, and I stuck
it right there at the pit of her neck and I felt it. I made sure I could feel it. She
was a little surprised but I walked away quickly.
I went back to my drawing and I did the same thing on my drawing. I put my finger right
there, and I made sure I had it just nailed. Then I didn’t know where to go next. I knew
I had to work my way down to the sternum and get to the end of the sternum because that
would be where the second head would be in my academia, which is my proportions. I knew
I wanted to work my way down. I walked back to her. She was still there, and she was a
little surprised I came back, but I took my finger and I always start back at the same
point. I put my finger right at the pit of her neck, and then I moved very slowly between
her breasts down to the bottom of her sternum, and I nailed it. I put my finger right there.
Her eyes were huge. I mean she was really shocked. But I turned to her and I explained
to her, don’t worry, I do this for a living.
Then I came down to my drawing, and I did exactly the same thing. Exactly the same thing.
I put my pencil right back to the pit of the neck and very slowly on my drawing I did exactly
what I did to her. I went down, and as soon as I got to the end of that sternum, wow,
nailed it. So that was the second landmark. Now I’m lost. Oh God, what are you going
to do? I remembered back to my training, the next landmark is the navel. So I walked back
to her. Her boyfriend got in the way, but is said, sir, I’m a professional. I do this
for a living. I pushed him out of the way. I put my finger right back at the pit of her
neck, always going back to the beginning. Very slowly took my finger and rubbed it right
down between her breasts, down her sternum, came on down, and right there, right to her
belly button. Just a little tickly right there. I nailed it, and then I went back to my drawing
and walked on down, always starting at the same place. Have I mentioned that to you?
Always starting at the same place with proportions. I worked my way down right between my drawing’s
breasts, which will be there soon, but they are there in my mind. I always like to have
breasts in my mind. I come on down here, and I feel that sternum, and I turn my pencil
to feel the softness of my drawing’s stomach, and I dipped right in the navel and I nailed
it. It was perfect.
So now I’m lost. What am I going to do next? Well, I remember my artistic training, and
I went back over to my nice young lady. I walked over and her family was getting upset,
and she was in shock. I think they had definitely called 911. That’s okay. It’s a good thing.
It’s a small price to pay for a good drawing that she is now calling 911. I put my finger
right at the pit of her neck, always the same, right down between the breasts on the sternum,
working my way a little bit, feeling the softness of the stomach, right into the navel. You
know what’s interesting? As soon as I got down to her pubic arch, I got arrested. But
that’s okay because I brought my drawings with me right into security. They have excellent
security. They’re so nice. They give you coffee and doughnuts, and they feed it to
you because they have you handcuffed to a metal chair next to a metal desk. But I worked
my way down, dipped into the navel, all the way down to the pubic arch, and I nailed that
pubic arch right there, just nailed the pubic arch and got to my next landmark. I know it’s
right because I felt it.
This is where I want you guys to start thinking as we move into drawing that you are literally
drawing on something physical on the paper, that she exists on the paper as she does in
real life. The next thing is really fairly simple. All
I’m going to do is my cross-contours. Here, here, here. Now I’m starting to get form.
We’re going to learn about anatomy later, but these are more landmarks which will be
the iliac crest here coming on down to the pubic arch. See? Coming back to the posterior.
I’m going to be sneaking this stuff in. Don’t worry, I’ve been doing this for
awhile. I’ve been teaching this stuff for a little while. So we’re going to come here.
We’re going to start sneaking this stuff in. There is my side plane. You always want
to run to the side plane in your drawing.
I don’t know if you guys ever saw that movie Poltergeist. This little woman, you know,
she was kind of weird. They take this kid, and they put it in a TV set. It’s really
kind of a heartwarming film. Then the mom, you know, she’s trying to find the baby
in the TV set. They’re yelling run to the light. And the mom is like no, no, no. I’m
not going to run to the light. Then you hear the baby go mom, mom. It’s a very heartwarming
film. It’s really great. They’re going, run to the light! There’s safety at the
light! The mom is like no you little—can’t say it—I am not running to the light. They
were trying to the baby. You know what I heard? Run to the side plane. There is safety at
the side plane. As you’re doing this cross-contour, your goal is to get to that side plane. That’s
what’s going to give you your structure—okay, your form. That’s where I’m showing how
the gesture works.
Then we’ve got this leg, and this leg is going back, so I just go like that. Boom.
This leg is going toward me just slightly so we go like that. You can’t tell right
now if it’s going toward me or away, but if I go like this, I now know it’s coming
toward. Do not connect the extremities. Do not, do not, do not. Let them float. It’s
really important. You’re going to stiffen your drawings if you ever attach your legs
to the torso.
Now, this arm is going to be going this way. I’ll make it come toward me just by doing
that. Again, it’s not connected to the torso. Then this arm is going to be going like that.
Always draw the hands. You see how she’s got her hand going straight down. That’s
boring. What you want to do is law of opposites. Remember that poor woman who is on the second
story that we saved. Law of opposites. Law of opposites are going to go this way. Cal-State
cool. Then we can actually show here. I’m actually kind of changing the pose a little
bit. The head, even though she’s got her neck going straight up, nope, not doing it.
Does that mean you can change the pose, Sheldon? Absolutely. You can absolutely change the
pose. Now we’re going to go from the pit of the neck going out like this. We’re going
to break all these muscles down, all the anatomy, everything. Then I can bring her head up like
this. This is all gesture because gesture is story. What’s the story? There we go.
Then we leave the arm open. Leave it open. Boom, boom, boom. Then you can connect it
with your Cal-State cools.
Now we’re going to use just the charcoal and not the chamois. We’re going to start
right here. Start with your proportions if you want. But you’re going to need to be
able to start from anywhere. Let’s just start with the rib cage. That’s a rib cage.
See it? That’s a pelvis. I’m going to bring the arm back here. I’m going to bring
the head way down here. That’s how we get some drama.
Now, what you’re seeing here, everybody, is a bunch of wire. Each one of these lines
is a piece of wire that I can change. Notice how with here as soon as I get to this mass
right here, I can’t change it. I’m locking it in. It’s locked in. But here, each one
of these little lines is a piece of wire, and I can change it. Maybe I’ll do that.
Then this is going toward—I can even turn it by hitting the line here and bringing this
one over. This is all gesture stage. It’s gesture is your story and your landmarks.
Your landmarks are what are going to give you your proportions.
Now, a lot of people, I find with a lot of students that they’re always concerned about
when do I get the shape. Shape never exists. We’re not going to do an outline. Think
of it in the digital world for you people that are digital people, you have these things
called edge loops, which is just a cross-contour in the computer world. The more edge loops
I put in and the more I move them, the more I get a shape. The more cross-contours you
put in, and the more you make those cross-contours wide and narrow and then wide again and then
narrow will actually give you your shape. But because we’re all raised with comic
books and animation art we think of this outside line. Let’s not do that. Let’s think of
this in the outside making the outside.
So now I can go like this. If it gets too dark just rub it back. In the olden days back
in the renaissance they used to call this cartoons. I was in London a couple of weeks
ago, and I saw one of my favorite Leonardo da Vinci drawings. It was alone in a room.
I’ve been using that drawing to study from. Here I was alone in the room with it. I just
sat and stared at it. That’s all he’s got are these scribbles. Notice how I’m
working the entire drawing. That’s what gesture is. Gesture is the story. Then she’s
got this leg going back so we’ll do that. It just changed all those lines inside. Boom.
This is going away just by putting this one line right there, and this is coming towards.
Working the entire drawing. Okay, you got it? Let’s do some more. I want to do one
more gesture, and then we’ll move onto shape used for gesture.
need to use a fountain pen like this? No, we’re just playing with different tools.
Okay, the thing about fountain pens is they are not predictable. Now, if you notice she’s
leaning forward. She’s got her right hand on her right knee so her nose is going to
be right over that hand. There is her face. I’m going to use the wave to get around
so we’re going to guide the viewer’s eye, tell them where to look. We tell the viewer
what to do. They really don’t have a choice. That’s your initial lay-in. It’s very
simple. If you notice, each one of these lines has a little arrow on it, and it guides the
eye. Crucial if you’re going to be working as a professional artist because the audience
doesn’t know it, but we’re telling them when to look, how long to look, when to stop
and when to start again. The next thing is that she’s coming toward us, or she’s
going away, however you want to look at it. There is a great anatomy song, and it’s
called, hey now, draw the torso, forget the add-ons, get paid. The whole theory is a very
old song. It was sung in the Renaissance. It basically says leave the boobies off. With
this model leave the breasts off for now. We’ll use those later. Those are nice little
tools, and they will help us show mass as well as other things that we won’t discuss.
So here we go.
So this way we’re going to go back. Wake up, everybody. You go this way. That’s the
airport story. Right there. There is the box shape with the pelvis. That’s coming back.
This is gesture. We’re putting in our forms. We’re going to be getting heavy into it
when we get to the structure stage. Okay, so we’ve got this wonderful—notice how
immediately the drawing starts getting stiff. It instantly starts getting stiff when we
put in the structure. Going back and going back.
Now, I’m using this shape, a round shape, and a round shape all in this shame drawing.
Am I going to go to drawing jail? No. It doesn’t matter. Now we hit landmarks, pit of the neck.
Sternum. End of the breast bone. Navel, belly button, and pubic arch. This arm is going
back, and now it’s going hack some more. You can see right here where she has her bracelet.
She is wearing cross-contours also—A little box shape right there.
Think of this pen as a wire machine, like right now it’s pretty calm, but when you
touch it, oh man, it is just getting aggressive. It wants to play. Then you pull it and the
wire comes out of the pen. Once this wire comes out of the pen, I can move that wire
anywhere I want. That’s what we’re doing here. We’re taking this pen, and we’re
putting it down. The wire is coming out. We’re going to pull it around. You’re going to
pull it. It goes like this, and it’s going toward us but slightly.
Now, this is where I call it the left-hand turn theory. Everybody says, you got it right.
You got it wrong. When you’re driving in a car and you want to make that left-hand
turn, what happens is you’re here. All these people coming this way, they have one thing
in common. They want to kill you. So they’re waiting for you to turn so they can kill you.
They’re going to take you out. Even the kids are in the backseat singing, mama gonna
take you out. They want to kill you, so you wait. As soon as these cars leave, you’ve
got your opportunity. You punch it, man, you punch it. You get out of there, right? Now,
if you come here and you stop, someone else is going to get you. What does that have to
do with your drawing? Is like going toward you or away from you? Who cares? If you’re
going to make your decision, stick with it.
So if this leg is going this way, and I go like this, that leg is coming towards me.
If I go like this and I go this way, that leg is going away from me. It doesn’t matter.
Just stick with it. Don’t do a half-assed indirection. I’m going to have it going
this way, and then I’m going to go like this. Bam, there you go. That’s coming toward
me. Then this is coming around this way, and it’s coming towards me. That’s all. Real
Over here we’re going to have some more landmarks. From the iliac crest, which is
this pelvic, the hip bone, down to the pubic arch area, or as some universities call it,
the MBA, middle body area. There you go. Again, I want a straight line before the leg starts.
I do not want to have the leg connected right to the torso. We’re going to go like this
and bring that forward. This is going to ensure that we have a drawing that’s got rhythm,
that’s not falling apart. Now, she’s going to go either this way or this way. I don’t
know. I don’t know what I want to do. I’m going to think about it. Well, we’ve got
this line here. Maybe I’ll Cal-State cool. I’ll go from here to here. I’m going to
bring it back. So now we go like that.
Going away, away. Look at this arm, this hand can really show the mass of the leg. Notice
again, no breasts. Leave the chest off for right now, male and female both. Just show
the shape of the rib cage. The whole idea of doing this kind of drawing is that we are
building the model. That’s going to be very important in today’s world, where you’re
working and you’re modeling for computer animation. You have to build your character.
Okay, so you see that? That’s your front. What’s happening is you’re overthinking
it. I’m going to show you.
Okay, so let’s do it again. Stand over here. Here we go. I’m just going to draw it. I’m
working the whole drawing at the same time. See how far away from the torso I’m putting
these lines in? Really important. I see that the shoulder is coming toward me so I just
put that circle there. It shows it’s coming towards me. Now, the next thing I’m going
to do on a drawing is I’m do what I Cal-State cool CPR. What we do here is we just go in
and we go this way, there, to here, to there, and you just bring the drawing to life. That’s
the gesture. Okay. Let’s start with that. I’m going to find a male pose because people
will go, well, how do you draw men? Same way. Let me show you.
going to find in this photo is that the anatomy is going to play a big role. I know we were
only going to talk about gesture, but I’m showing you how it’s going to apply. I’m
going to start with the scapula. That’s it. That’s that shoulder blade. Right now
you’re going to be going, wait, we didn’t talk about anatomy yet. Why are you talking
about words like scapula? I just opened your brain and I shoved it in your head. I’m
going to start using terms and words and all kinds of stuff to start getting it in your
brain. You’ll have really solid retention. It’ll be a lot of fun.
Now, what did we do? We’re using anatomy in our scribble. This is a scapula. There
is a deltoid. See that right there? That’s anatomy. Look at that box shape right there.
It’s already happening in just a very simple scribble. So coming down like this and across
and back has given me latissimus dorsi, external oblique. There is the rectus abdominis right
there. Just with the scribble. We turn it. Butt cheek, butt cheek. Straight, curve, which
means he has more weight on his back leg. Take a look at that. The front leg has a curve
on the butt cheek. The back leg has a straight. That’s where the weight is. This is where
you guys can start becoming a pro. I’m going to pull the line from here all the way to
the back. I’m going to Cal-State cool it here. Look at that rhythm. It ties the whole
drawing together. Then I’m going to pull this line this way, Cal-State cool it here,
and I’m going to bring it back behind the nose. There is the nose. The nose knows where
the weight is, but I’m the artist and I’m going to push it here. Look at what he’s
doing. He’s really pulling forward. I now have a motivator. That’s where it’s pushing.
You guys all see that? It’s really important. Then I’m going to put this arm back here.
I can have him carrying something really strong like that. Then I can bring the head way down
like this. There we go. That’s the gesture.
It’s a story. It’s the story. Tell me a story, mommy. What do you want? I want the
story of the naked man carrying the gifts to the house. Uh, we don’t talk about that
story, sweetie. Here we go. Then this is going back. Every one of these lines pushes. If
I really want to push it, look; I’m going to put a pointed line like that, which is
an arrow bringing the eye.
What are we learning right now? You’re already starting to learn the career of character
design. See how these move forward. So inside of this figure I am animating. You need to
show me in one drawing how well you can animate, and that’s why New Masters brings in people
from the industry because you don’t have this in books. This has to come from working.
There is my transition. Then here is the leg. What we’re going to have is within that
torso there is that straight line. You’ll learn about it later. I just want you to know
it exists. Now look at the photo. Do you see the straight line? I don’t. That’s where
you get nailed. That’s when I know you’re copying, when you put that line in there—when
you don’t put this line I know you’re copying. It’s crazy isn’t it? This is
your transition area right there. This is your femoris triangle. If this leg is going
back I’m going to put in these lines right there that shows that this is overlapping
this. Then I’m going to put in this line here, and I’m going to overlap it right
This is gesture, totally different than what I see being taught. Because they say gesture
like it’s a drawing that you’re going to grade. Gesture is personal, man. Don’t
tell me how to do my gestures. I’m just trying to get my story down. This goes away.
Maybe I’ll overlap there. That’s a gesture. That tells me what’s going away. Now I’ve
changed the pose. This pose is straight up and down. I’m going back. I’ll really
sell it and put a box shape right there. I’ll bring that leg up. Really nail it on the ground.
Here is the gluteal band. Let the gluteal band show you the way. Well, what do I want
to do? I don’t know, I have to stop and figure it out. That’s the key. Stop and
make a decision before you move forward. Then you don’t have to worry about copying.
So now I’m going to go this way. Pull this line through. That’s called drawing through.
Always draw through. Now look, we have this line here, here, here. It takes you right
into the leg. Away. Then I’m going to go like this, and that’s away. Really want
to bring that head forward. We’re going to do a lot of time on head drawing. You’re
going to have your head drawing down. That’s a gesture. Tells me the story. He’s pulling
something. Really bringing it forward.
This is a really great pose. A lot of power, a lot of muscles. Usually to see a body like
this I have to take a shower. In this case, I loaned it to him. Where’s the weight?
Well, look at the poh-poh. Lines on that leg. I want you guys starting from different places.
Let’s say this leg, this foot right here registers to that part of the drawing. You’re
now going to draw from the foot out for your lay-in. That’s where the scribble is so
important. Let’s see what is he doing? I’m going to go like that. There you go. You have
to own your drawing, everybody. If you don’t own your drawing, it’s going to own you.
So drawing is visual communication and visual problem solving. We’ve got to get it nailed.
We’ve got to get it down.
Now we know from the lecture series that we’re breaking the figure down into pieces. We know
that when they invented the figure they were bored, so they only used three pieces for
the torso, you know, for the entire top. One for the head then one for the ribcage. Boom,
nailed it. And one for the pelvis. There you go. That’s it. So now we’ve got that.
Then we’ve got this leg which is kind of fun. It’s kind of tweaking. I really enjoy
these. Let’s have some fun with it. Let’s go this way. We know from the study of the
drawing hieroglyphics, which is just I can draw this figure in any position that I don’t
even have to look at the model. Once I look at this and I say, okay, this is what I want,
don’t look at the model because then you’re going to copy. Don’t copy the model.
Here is where the question comes in. Do we ever copy the model? No. You never copy the
model. You interpret the model. I think that’s where it’s going to be real different. What
if I want to get a likeness of the person? Then figure out what it is that makes that
person who they are and make it better. I did a portrait of a house for a very, very
important client. Everybody wants to be in this collection. It’s a really, really important—it’s
the Wrigley collection, Wrigley chewing gum. When I was done and she finally took possession
of the house she was so happy. She goes, how did you capture how I feel about my house?
I just said to her because I’m an animator. I draw feelings. That’s the whole thing.
This arm will now be going back. That’s all I need. I don’t need anything else.
Then this will be going back. I can come back in a month and I’ve got it. I’ve got it
remembered. Check your proportions like when you’re driving in a car. Check your proportions
every 20, 30 seconds. When you’re driving a car check your rearview mirrors every 20,
30 seconds. Think of your proportions as the same, so constantly be thinking about your
proportions. There you go, it’s pushed. This is where he’s going. Hey, yo, you.
Now, you can see how I’m on the outside shape here. You want to call in your union
man. Hey, union, hey yo. Hey, Tony, Leo, get over here. Local 842 is scapula. Local 832,
rhomboid. Local 814, external oblique. Local 812 sternum. Local 802, gluteus medius. Local
849, gluteus maximus. See that? All of these are their own union, and they’re their own
shapes, and they are all equally as important as this total shape. So as beautiful as you
make this drawing on the outside, it’s equally as beautiful as you have to make the drawing
shapes on the inside. I’m looking for that in a portfolio.
So, gesture is not just a scribble. Gesture is the entire story. It’s there to help
you so that later that on when you finish your drawing you know what you’re looking
for. No mistakes. That will be your gesture. Okay? Alright, let’s move on.
go from kind of old and stiff to better looking. This is a Michelangelo drawing, but it’s
kinda stiff. It’s kind of illustration-like. You can see where he kind of cut and pasted
the head. You know, they’re just kind of stiff. You can see where the arms, so he probably
loosened it up later. I actually saw one of the versions of this is person, and he’s
just handling it like an illustrator. But we can loosen it up. You can loosen it up
by just doing this Cal-State cool. It’s a little hard to see because of the red.
We go like that and then we can come around this way. You want to look at the weight.
Here is the nose. We go straight down. She’s got her weight on this leg, but she’s got
her hip high here, so that’s where it gets a little bit strange. What we’re going to
do is go here are the shoulders. We’re going to go this way. Now it works. It’s kind
of funny. We’re kinda going over a Michelangelo, but hey, it is what it is. So now we’re
going like this. Her weight is right there over that leg. See how that works? Now she’s
a little bit more relaxed looking. This one here. Now, this guy is not feeling too well,
so he’s not going to have the same kind of balance. He is what we call a DRT, which
is dead right there. It’s a forensics term. We’re going to get a lot of emails on this
one. But we’re going to bring the shoulders up. He’s got, you know, they’re holding
them up, so shoulders go up like that. This is funny, going over a Michelangelo and critiquing
it. This is really cute. I’m going to burn for this one. I’m going to go to the gates,
and they’re going to go, excuse me, you went over a Michelangelo drawing. You don’t
belong up here. Okay, there you go. But he’s got a lot of weight, so what we’re going
to do is have his nose here, but nothing is going to be under his nose, so he’s—again,
he’s not feeling too well.
Now, she either has a look of what the F—or she’s got a stick up her butt, so what we’re
going to do is bring her head forward like this. Oh my God, all of a sudden she gets
a little bit more relaxed. You know, I gotta give Michelangelo a call. He usually calls
me collect, the little cheapskate. But, I’ll give him a call and see what he was looking
for in this drawing, which is typically what you have with animators. You just walk down
the hallway and see what they’re looking for. This one is actually a good drawing.
So it goes this way, and it Cal-State cools like that. Okay, so we’ve got this. It’s
really fun to draw over master drawings because it really shows you what’s going on. Compositionally,
she’s just pointing, and they’re going to go this way and around like that. This
points, he’s pointing straight down. It’s coming up. Okay, so that’s our composition.
Moving over to this one. This really shows what we’re dealing with. Here is the nose.
Straight down, there is the weight. This is a straight line, and this is a curved line.
Kind of a broken head. Scapula, scapula. Now, what we want to do is we want to go this way
with the shoulders, this way with the pelvis. Then beautiful legs. We want to go straight
in the inside there, curve here. Straight, curve. Then this next is somewhat broken,
so we go like that. Remember, I was talking to Michelangelo and Leo not too long ago,
and I was telling them, I said, you know they’re taking every drawing you’ve ever done and
they’re putting them in books. They were mortified. They were like, you’re kidding,
everything? Yeah, everything. So they were a little scared. I mean you’ve got to assume
every drawing these guys did was perfect. I don’t want that pressure, but then again
I’m not one of them.
Okay, so there’s your balance. Again, there’s your nose straight down, perfect. There is
the foot. Notice that we have a curve and a curve stopping in the same place. And a
curve and a curve in the same place. What we’re going to do is we’re going to Cal-State
cool it this way, overlap it, and then we’re going to put a straight and a straight. That’s
just animation clean-up. Go like that, see, then we’ll bring this low. Here is the navel.
Then because this is high this will be low. Okay, there we go. There is you shape, and
there is your shape. So trace this stuff a lot. You’re going to find you learn a ton.
Okay, and then here, straight down. Perfect. Now she’s going to go this way, this way…shape,
shape. There you go. One fist between the rib cage and the pelvis. Here it’s getting
a little compressed. Right there. Okay, but what we’re looking for is straight curve
against straight. Offset, that’s what we want. Okay, everybody? I don’t care if you
don’t see it and everything else. Put it in, okay? Nothing tweening—you don’t want
to go like this. You want to have everything offset so it’ll go like this. Alright, and
that’ll give you design.
This one right here is mostly just for composition. Let me show you something. Look at this. There
is your Cal-State cool. Really fun. See that? Then this is going this way. This is pretty
straight. I’m going to go with the straight because what I’m going to use is the negative
shape to bring it back, the Cal-State cool negative shape. Also the arm will take it
back. So your center of interest is right here. That’s where we want the audience
to look. The arm is going like this. Also the trees will take you down like that. This
is a straight, so this will bring you this way, and then we come like this, underneath
like this, like this, but the clouds will then take you back. Then we have a straight
line here right to their faces. This is all planned.
This right here, notice how these lines use the wave to take you to their face. We have
a straight line here so her eye doesn’t go past that. Then the foot comes this way,
and then we have a Cal-State cool, Cal-State cool, Cal-State cool, and that takes you.
It’s really kind of fun to draw over these and see the composition. You’re going to
find that the composition that you’re using really just is the three shapes and the three
musical notes, exactly what we did with the other ones.
Now this one, again, at this period things were kind of a little tweaky, like you can
see right here there was probably a change where they had to rub out the face and put
in a new one because this face really doesn’t kind of fit. It’s really also designed to
show a wave, every one of these little branches points to our center of interest, which is
right here. Notice how this baby is looking this way, and this one is looking this way.
They’re not checking out her chest because that would be sacrilegious, but I wasn’t
there. I don’t know. But you know, whatever. This baby is looking at you like what, but
this one is coming along and pointing. We have a horizon line going right through her
chest. I don’t know what’s going on here. I wasn’t there. I don’t want to know,
and I’m going to get through it as fast as I can.
As far as the structure of gesture, if you look at the nose it goes right down under
that foot, so that’s pretty good. So that works right down, and then she has kind of
a tweaky neck. What we’re going to do is we’re going to go this way. I didn’t mean
to be like critiquing this stuff, but we’re going to go like that. Then we’re going
to come this way. Cal-State cool. Cal-State cool. Cal-State cool. Long, towards us. So
you see, everything we learned is in here, and then you’re going to have this nice
long line of action like this, and it’s going to past her face, but it’s going to
hit the tree and go this way. And they’re going to have the clouds stop you. Stop right
there! Then it’s going to take you to the mountain right back to the baby.
I think this baby is important for some reason. I don’t know, but it seems like there is
probably an issue here. Also, this is light, and there is a lot of stuff going on there.
This is noncoincidence, so not a whole lot happening. You don’t see this. You see this.
You see this. This is pointing. This is pointing. This is pointing. This baby is checking them
out. This baby doesn’t care because it’s just there to show a rhythm. Her foot is going
back but it stops at the hand, so that’s cool. So we’ve got this diagonal coming
off this baby’s bottom to the foot. It stops at the hand and whom, right to the face. So
that works. I would say this is a composition that’s on its way. Mountains take you there.
I think your center of interest is right here.
That’s what gesture is all about. Gesture is to get the story down. I don’t try to
do good drawings when I’m doing my gestures. I want to get the story down. How long does
it take to do a gesture? Well, it could take two minutes. It can take five minutes. It
could take five hours, five days, five months, or five years. It doesn’t matter because
the story has got to be right.
Again, this is different. We have a composition that’s stopping right down the center right
here. Let’s just focus on this. This is a two-page spread. Again, she’s looking
this way. We have a negative shape. Remember, the negative shape is as important as the
positive shape, so we want to go this way, but it stops, but it’ll take us this way.
It’ll take us to these guys. This is just diagonal pointing so that works. Let’s see,
we’re going to come this way. Your Cal-State cool is going to be a lot of negative space
going like this and this negative space right here. Everybody keep in mind—we didn’t
talk a lot about it, but we will later—that the negative space is as important as the
positive space. The figure is beautiful, and she’s got this really nice Cal-State cool
here, there, here, here. She’s got two butt cheeks, which is good. I’m glad they had
them back then because otherwise they’d kinda walk funny. It goes this way, this way.
We’re going to put a straight here and then a curve here.
She works out a lot. Either that or she had a boob job. She’s got really solid breasts.
The other thing is back then it looks like gravity was stronger because the nipples should
probably be up here, don’t you think? Then we turn it around. But, you know, back then
who knows? This one is round. I think they are definitely fake boobs. Michelangelo was
kind of known for drawing men and putting breasts on them. Nice job here, Michel. Really
good stuff. He does great pecs. Beautiful Cal-State cool. This, Mike, I don’t want
to know what you’re pointing at and what you’re using, but that’s your business.
I think that’s a little bit different. It works in your painting but wouldn’t work
at some universities.
Okay, this is going to go this way, and then this is going to go that way. Look how beautiful.
You know, Mike, you really draw good guys. The weird thing about Michelangelo is the
one hot-looking woman he drew was the virgin. I don’t know, the Pieta. Boy, she was real
pretty. But, you know, the other ones he just kind of drew some real macho-looking women,
but he did good guys. Look at that right there. This is coming around here, and this comes
down. Then this is what I’m talking about. Starting here, leaving that straight line.
Good job. Here and then your nice box shape which will point to her belly button from
the knee, and then we come this way.
Cool. This works. Then look at all his cross-contours. You can really draw over this thing and see
the form. This is why Michel is my man, and that’s why I posed for the David for so
many years. You know I did that for free? Yeah, he never paid me for that. He said he
was going to pay me when the slaves were done, and then, of course, they never finished them.
But Mona, she got paid tons by Leo, so I don’t want to get into that. Here’s the straight.
There is a curve. Real pretty. Everything is taking you on these really nice journeys.
I would say the center of interest is, I don’t know, somewhere here. These guys I’m not
going to worry about. Tall. See the proportions? One, two, three. Yeah, it’s pretty good.
So what I want you guys to do is to copy the masters and do exactly what I’m doing. Just
look for these rhythms. Look for the box shapes. I think the problem with the Renaissance that
they did not have going for them that us modern artists do is they didn’t get to study with
Glenn Vilppu, and I think if Michelangelo studied with Glenn Vilppu he’d be a better
draftsman. Okay, so now this is going to come this way, and going to have here, curve, straight,
curve, straight, curve. See, there is your design.
study their anatomy. They understand Chiaroscuro. Look at that core shadow right there. So pretty.
Really well done. The knowledge of anatomy is really working, and it animates too. See
that? This line continues here to here and around. Then this is fairly simple, and this
is complex. You have your complex simple. Really understands the anatomy. Really understands
the structure. See the cross-contours really work. The union—really understand how powerful
the union is. The union of the scapula, look at that. They understand that if they screw
with Local 824, which is the scapula, there is going to be hell to pay. Look at the knowledge
of anatomy. That’s the infraspinatus fossa right there. This is your teres major, teres
Look at the latissimus dorsi really working, the erector spinae muscles, the sacrum. Excellent,
excellent, excellent. They really understood the narrative at the time. This was the first
bar scene. He’s looking at her and going so, hey babe, you want to get lucky. And he
says didn’t we go to different high schools together. She says, I don’t know, but I
do know that I am seriously Cal-State cooling right now, and I’m getting a little moody
and a little anxious. I’ve got my curves, and I’ve got my straights, and it makes
me powerful. You notice that breasts are real. Nipples are in the right spot. I’ve got
this wonderful ride happening here. I am literally the ultimate ride in the theme park. I am
the naked woman ride. He says, I know. So this is getting a little bit saucy here for
this period of time. This is the woman who was designed to protect her, so she is about
to put this little thing on her head, which makes her say, nope, not going to happen.
Everything is guiding. This is a diagonal line right here. That pretty much takes us
this way. We’re dividing in half.
These little guys, I don’t know why they’re there. I don’t know what they’re trying
to say. This one is looking at them going hmmm. But even the drapery is taking us in
the right order and direction, and then it comes down here. So we’re going a Monty
Python here. We’re going this way. And then we’re saying, and now for something completely
different, and we’re coming back around this way. Now, we have what we call open-close.
I learned this from Senor Glenn Vilppu. Check this out. This is closed, and this is open.
What it does is it pushes your eye into the open. It is so cool. What happens is it takes
your eye and forces it past the subject matter, and then it just takes you off into nowhere
So they’re doing that really well. This is pointing. This is pointing. This is coming
up. They usually like to put in these red things. Like why do we have red drapery in
the forest? You tell me. I don’t know. Usually it is there, and it guides the eye back to
our center of interest, which is the hookup right there. They’re hooking up. I don’t
know what college they go to, but they’re hooking up. I’m a college teacher, I’m
a professor. I know what they’re doing. I’m going to say to this kid, hey, you hook
up, and you get one of these. You want to keep it quiet. Watch it. Now, this one is
going, hey, I don’t know, she’s already got her clothes off. I think this may be a
little more advanced than we think.
This is going to go this way, this way, and the tiger. The tiger was the birth control
back in the day, because basically if he gets too far the tiger is going to bite. Then we
have our fruits, the fruits of the labor, and the fruits are Cal-State cooling there.
So I’m glad I had the opportunity to explain to you art history in its finest, and this
is his mighty staff, and he’s saying, hey, this is my mighty staff. This is a new low
for higher education, and I’m glad that I was able to bring it to you. But it is all
about curves/straights, Cal-State cools, Cal-State bitchin’, and it’s nice that she’s got
some clothes on and is pointing to his hand. Isn’t that great? Then he’s got some drapery
here. So everything is a bunch of curves and straights and Cal-State cools and closes and
This right here. These are always kind of fun because it’s always all about somebody
who just isn’t feeling too good. We’re going to go like this. Now, there is not a
lot of support here, so she is supporting him. The motivator is going to be right here.
This is the motivator. That’s why this arm is high. The rib cage, gravity is going to
be pulling down this way. Everything is going to come down here. Then the pressure is coming
down this way. You’re going to have this area right there, which is a tension. You
don’t want to do a lot of tangents. Tangents would be something like this. That’s similar
to a tangent. Let me see if I erase it. Let’s see. Pretty much. Got a lot of tension there.
Little overlap, so that’s good. But you’ve got tension there, and then we’ve got this
pulling down this way, and this coming around.
Again, this is a postmortem, and you can tell when it’s a postmortem. To get serious for
a moment, I work in homicide, so I definitely know what postmortem looks like. It’s just
not natural. There is nothing within the body that’s supporting anything. It’s over.
So we go this way, and then we have this beautiful anatomy showing off the knowledge of the leg,
the gastrocnemius. Really look at this foreshortening. Beautifully well done. And again, there is
that spot I’m talking about. You see this distance from the top of the leg up to the
iliac crest? That’s the femoris triangle. Really important. That’s where you’re
iliac crest. I’ll show you again. Look, right here is where the leg is connecting.
Not up here. There is a muscle there. It’s the Starbucks muscle, the tensor fascia lata,
and that muscle right here when a lot of the models work out, it gets pretty big. It kind
of fills up this area. If you’re copying the model what happens is they attach the
leg up here at the iliac crest, and as Tweety Bird would say biblically, you’re screwed.
What we want to do is we want to show that the leg is connecting here leaving this line
here of the femoris triangle, then the iliac crest. Then we’re going to have the inguinal
ligament coming down. This will be the borderline from the upper torso down to the legs. Again,
they were to go, and then there is your leg starting there.
So this is really fun. There is your curve, curve. Don’t even worry about weight and
balance because he is not doing too well. She’s not happy. She’s going this way,
but her arm is going this way. These are animated things. When you have drapery you get to animate
the drapery. Okay, so we really want to make sure we have that. Someone has to tell her
that she’s hanging out a little bit, but it’s been 500 years so whatever. Then we
come in this way. Here we go. Here we go. Everything is animating towards our center
of interest. Even the shadow off the zygomatic process is going to point. The hair is going
to point. He is looking at her breast. Okay, so if we follow his eyes straight across,
he’s looking at the bare breasts. He needs to get out more often, go to a mall. I don’t
know, rent a movie, whatever it is.
Our eye level is down here, so we’ve got that, but everything is going to point. Yeah,
here we go. If you look here is your drapery, drapery, drapery, drapery. Everything is taking
us directly up, and this is taking us down, down, down. So these arrows that we’re talking
about are really powerful. Notice, again, the closed area here, and the open area there.
It’s going to pull the eye back. There will also be a major Cal-State cool happening,
which is going to go this way, and then the negative shape Cal-State cooling this way.
So that’s your composition. We have to think of the entire composition, and go from general
to specific, just like we would do in a good old-fashioned homicide. You go from general
to specific. Figure out what the narrative is, and then go for the details. That’s
what’s happening here. This guy, I want to keep an eye on him. Someone has got to
warn her that he’s feeling a little bit anxious. Look at that wine right there. Let
me stop this before I end up in trouble and move on to another one.
So again, you can tell where changes were probably made because the head doesn’t fit,
but that doesn’t matter. Again, we’re going to have a center right there. That’s
our composition. Really, the center of interest is right here. Okay, so he’s looking down.
It doesn’t matter what direction she is looking because she has a giant Cal-State
cool here. Then this one here Cal-State cools it. We have some Cal-State cools happening.
We’ve got this one and this one. That works. This one and this one. What’ll happen is
that keeps our eye here. He’s just an elevator. I like to look at composition as an elevator
or an escalator. This is an elevator. If it’s a diagonal, that’s an escalator. These ones
here, I think they were thrown in later. I’d even leave it alone.
You know, again, there are just these diagonals. You can use diagonals for anything. You can
use clouds, you can use the mountain in the background. You can use this mountain. This
will stop your eye. Anything works to get the eye where it’s going. You can have this
flesh area here, nothing happening. This flesh area, flesh area, flesh area, and then stop.
It really doesn’t matter as long as you’re guiding the viewer’s eye. Here is the diagonal
here. It comes like this way. Just look at it. They were really pretty simple in how
they did. Here it is. There is your line right there. Then there is a stop. Again, this is
earlier on and they were still kind of playing with their composition.
But then we move over to the master, yes, my man. So let’s take a look at what we
have here. In the composition area, again, right down the center, which gives us our
center of interest. We have that this is a narrative. You’re going to find that these
lines animate. Let’s take a look. There is center, and then here is your diagonal.
That gives us a tension point right here. Then this is another elevator. We have a lot
of elevators taking us down. You know where you can find a composition like this is in
Fiddler on the Roof where they’re running through the forest.
So we’re going to have straight, straight, straight, and then straight. Look what happens
here. Here is your straight. This is breaking that curve, that line. This is real important,
so everybody listen up. If you have a straight like this, if you break it with a diagonal
it’s going to give you energy. So in Fiddler on the Roof, there are “wonders of wonders,
miracles of miracles,” and they’re running through these trees. What happens is compositionally
they’re breaking those verticals, and they’re giving this wonderful energy. It’s really,
really cool. So you’ve got that. Don’t worry cause you’re going to stop your eye
here. You’re not going any further. If this guy here playing his horn gets up to high,
don’t worry, we’re going to take you back down again. We’re not letting you go.
If you get to here, don’t worry. His wing is going to take you back down. Everything
is not going to let you go past. If you get over here, we’re going down. Remember, they
like to put the red drapery on there. I don’t know. Where did they put the blanket? Look
up top. It’s right up there. This guy is another straight. All these straights, straights,
strait. What we have here is we’re going to animate. Look at this. It was the first
animation. It’s beautiful. See, look at that. He’s going the opposite direction,
who cars. She animating. Look at that beautiful S-shape. Then she is going back this way.
Look at this. It’s pointing right here. Then we have this diagonal here. Now, you’re
going to notice if we look at this diagonal, see where it goes, and it goes right there.
It’ll take this right down. I think the center of interest is around here somewhere.
Okay, but again, this is a narrative. This is like the killing the baby thing. It’s
just a lot going on. As far as your figure drawing goes. You know, Rubenesque, he liked
his woman round. His favorite son was that big butts song. I always go, come on man;
there is a lot of other music. He never really got into Zepplin. Never got into Genesis even
though Genesis was in the Bible. I used to say Rubens, man, listen to Genesis. They’re
in the Bible. He said, nope, he likes big butts. So it’s a straight line, curve. I’m
like Pink Floyd, dude. Nope, just the big butt song. I’m still working on them though.
Look, here are your shapes. Really beautifully designed. Then there is your curves. There
are your shapes. So it’s everything we talked about today. Here is the pelvis going forward.
Based on the fact that this pelvis is going forward this much, I know that’s a female.
I can say it with confidence that this is a female, based on the fact that this pelvis
is going like that. Look at this. This is one macho, macho, badass female.
But, I know that, look at the rib cage. Use a little bit smaller. See that? There you
go. Then we’re going to go this way. There are some fat deposits there. We’ll get into
those later. Females some fat deposits. Here you go. Men have none. I can contest to that.
No fat deposits at all. Females, they have some. So that’s female, and then two buttcheeks
are better than one. Two butt cheeks will get the job done. That’s your straight line
right there, and it wraps around that cylinder, and brings the leg toward us. Okay, so that’s
a really fun painting. Have some fun with it. You’re going to find that when you study
these you’re going to learn you composition. You’re going to learn your storyboarding.
You’re going to learn a lot about animation. These guys were amazing. Look at the heads.
Look at that diagonal right there. Put this in your work. Look at that straight line right
there. So fun. And it’s 500 years old. To most kids history is like you know The Little
Mermaid. So this is really fun when I get to show them the history and do it in a way
they understand. See that? It’s really fun. We do this at my school a lot.
Okay, so there you go.
You’re going to have some timed drawings, and then after you’re done I’m going to draw them for you.
Also, don’t get frustrated. It’s really hard to do.
Hey, in the end it’s only a drawing.
Okay, alright. Go for it. Let’s see how you do.
difficult because it’s kind of anatomy heavy. I’m using a fountain pen that’s really
important is that with a fountain pen all of the drawings that have ever been done in
the history of man—when is say man I also mean woman—is actually in the pen. You don’t
have to worry about it. You just have to show the pen the drawing, and the pen does it for
you. So it’s pretty cool. Right now I’m going draw me a naked man with his hand and
arm up, and the pen does all the work. It’s like a computer. The students today think
the computer does all the work. It’s actually the fountain pen. Don’t tell anybody.
Okay, I’m going to put his head here. Boom, boom, boom. What do you say he gets a nose?
Okay, there is a nose, eye socket, and scapula. This will be done before. He gets a pony tail.
You would think that a pen that’s called a Pelikan would only be able to draw birds.
Alright, now this is a female from behind. You can tell she’s a female based on her
pelvis because she’s from behind. She has a narrow rib cage and wide pelvices. I know
what you’re saying; does she have pelvices or pelvis? Well, you’ll have to figure that
out yourself. The secret to doing drawings fast is having done about 2 billion figure
drawings. The models can only take so many poses. So you look at the pose, and you go
I’ve done this one before, and then you just do it out of your head. Don’t tell
anybody I said that, okay? It’ll be our secret. Remember, the rib cage and the pelvis
Okay, this is a really fun pose. Now, when you’re doing your quick sketch poses you’re
going to get to a point where that’s as far as you can go in that genre. Okay, so
let me explain that to you. Let’s say I only want to do rhythms with some shape and
a little bit of edge or something. That’s the pose I’m going to do. So it has to be
consistent. If you add any more information to one area then you have to do it for the
rest of the drawing. Sometimes what you guys are going to do in this figure drawing session
is—it might be a 20-minute pose and you finish it in 15, but you don’t have enough
time to go back into the next set, which would be maybe putting shadows over the whole drawing.
So stop. That’s what you guys will find that I do. Like right now I’m getting to
the point where the drawing is almost done. You’ll notice I did the rib cage first and
then I put in the chest. You’re building the drawing.
Going back to my figure drawing lecture, the first part of it on the fine art of Rubens
slamming a baby, you’ve got to get the information down quickly and hold the drama. That’s
why we have these short poses. It’s not a lesson on how fast you can draw. That’s
kind of silly. Okay, there we go.
Okay, so now I’ve got this leg coming towards me. I want to make this one shape. There we
go. There’s one shape. Then this arm is going back. This stage is done. If I add more,
like if I go in here and add a shadow then I have to kind of do that on the whole thing.
So then I would just stop it. You have different stages of your drawing.
So in this one her motivator is her chest looking up. Remember that straight line I
told you guys about? It’s right there. Then you come in. You’ll know why when we get
to the anatomy stage.
(10:53) Okay, this is a fun pose, you guys. This is tough one. I’m going to use this
arm as a measuring line and measure against this line right there. All this is going to
come together. You really need to get the knowledge and know what you’re drawing.
Pull around the back. Even though you only see one butt cheek there is two, so this is
the first one. Go over there and feel the second one and pull around, and there you
(12:40) Okay, this is a dramatic pose. This is going to be fun. I’m going to start with
the arm. Now remember, we always want to start with something different. Don’t start with
the same formula. It’ll knock you out. It’ll take away your career. You want to be able
to start with different parts of the body every time. Got her face buried in her arm.
She’s got a ponytail for the silhouette. She’s just sad. She’s not a happy camper.
(14:32) Now, the fact that we’re doing these two-minute poses, and we’re doing all of
Chi on here, that’s not fair. In order to do poses like this, you really need to know,
but we do this in the drawing class to get you ready. Remember, nobody has ever mastered
As we discussed in the beginning of this class, I carry seven or eight different sketchbooks,
and I have them with me all the time. I have a big green bag, the type of bag that you
get arrested for. It’s a military bag because it was the only one that I could find that
was light enough to carry all my supplies. That’s like home base. Then I have what
I call my docking bags, and I have about 60 bags, the most beautiful bags, all name-brand,
gorgeous bags. Those are the ones that I carry. I just decide what I’m going to do that
day. I plan my day around my sketching.
I went to Bat Mitzvah Saturday night, and I just brought a sketchbook. I didn’t even
bring a bag. Sometimes the sketchbooks I have look like they could be a Bible. So if I’m
going to a funeral, a Bat Mitzvah or a wedding or something, you know, they think I’m just
walking around with my Bible. Although, I do get caught. People come over and say I
liked your sketching. But the reality is you have to be drawing. Drawing is a biological
function. Don’t think you can just do this. This would be a tough pose right here.
So this is last pose, but the not the butt—but, not the end. Okay, that was corny, I know.
I will burn for it, but it was fun. Now watch, let me show you something. I’ve got the
leg here. You really pushing this way. Now watch, see this here. I have this way up here,
but because I’m dealing with the scribble I can push it. A lot of times you see the
drawings of the masters and you see a bunch of, like several arms. The reason why is because
they’re searching out the pose or an animator’s rough, you know, searching out the pose. Here
So what did you think? A little different than you thought? It’s gesture being taught
by an animator. Just remember, as you guys are moving on, gesture is story. Also remember
that we’re simplifying the gesture. It’s just three shapes and just three notes. I
hope you had a good time with the gesture. It’s one of my favorite parts of drawing,
of course, because it’s all about story and life, and I’ll about telling stories
and I love every moment of life. We’ll see you on the next section. Take care, you guys.
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17m 24s2. Introduction to gesture and how to use "Cal-State Cools"
21m 25s3. Weight, balance, proportion, and finding the motivator
10m 21s4. Demonstration Part 1: Bent over and reclining poses (Model: Sara)
19m 9s5. Demonstration Part 2: Sitting pose and reclining back-view pose (Model: Sara)
12m 53s6. Demonstration Part 3: Reclining front and back-view poses (Model: Analeis)
14m 58s7. Demonstration Part 4: Upright reclining pose on toned paper (Model: Sara)
15m 31s8. Demonstration Part 5: Standing back-view pose (Model: Analeis)
17m 13s9. Demonstration Part 6: Side-view pose (Model: Sara)
12m 8s10. Demonstration Part 7: Bending front-view pose (Model: Angelique)
13m 1s11. Demonstration Part 8: Side-view pose and back-view pose (Model: Will)
16m 54s12. Old Master Analysis: Michelangelo, Bartolomeo, da Vinci
16m 39s13. Old Master Analysis: Rubens, Raphael
29m 42s14. Timed figure drawing assignment
19m 9s15. Sheldon's approach to the assignment