- Lesson details
Our Daily Life Drawing Sessions are free timed reference videos that allows artists to practice figure drawing from images of life models. We’ve taken this popular resource and put a new twist on them — demonstrations from your New Masters Academy instructors! In this installment, instructor Sheldon Borenstein draws along with you, working from Daily Life Drawing Sessions 1 through 5. Sheldon works with an array of different tools, including brush pens, pastel pencils, markers, and fountain pens, demonstrating how the fundamentals of gesture and structure apply equally from medium to medium. To maximize your learning experience, we encourage you to work from the drawings sessions yourself first so that you can compare your drawing decisions with those of Sheldon.
- Pentel Pocket Brush Pen
- Copic Marker – Cool Grey #3
- Seth Cole Ledger Paper
- Kuretake Zig Letter Pen Refill
- Strathmore 500 Series Charcoal Paper – Pottery Green
- Faber-Castell Pitt Pastel Pencil – White, Burnt Umber and Venetian Red
- Kuretake Disposable Pocket Double-Sided Brush Pen
- Faber-Castell Polychromos Pencil – Alizarin Crimson
- Niji Water Brush
- Waterman 100 Fountain Pen
- Lamy Safari Fountain Pen
- General’s Charcoal Pencil
- Memory Brush Pen
- Tombow Dual Brush Pens
- Pentel Sign Pen – Fine
- Kuretake Disposable Pocket Brush Pen – Fine
- Handmade Lead Holders
- Mazurka Handmade Ballpoint Pen
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figure drawing from images of life models. We’ve taken this popular resource and put
a new twist on them: Demonstrations from your New Masters Academy instructors.
In this installment, instructor Sheldon Borenstein draws along with you, working from Daily Life
Drawing Sessions 1-5. Sheldon works with an array of different tools including brush pens,
pastel pencils, markers, and fountain pens, demonstrating how the fundamentals of gesture
and structure apply equally from medium to medium.
To maximize your learning experience we encourage you to work from the drawing sessions yourself
first so that you can compare your drawing decisions with those of Sheldon.
here. But I want to get you guys in tune with how my style of teaching works and make sure
you’re familiar with it so that you can kind of have some fun with it. The information
is sound, but the way it’s done is a style that’s evolved over 36 years of teaching.
It’s designed to keep you awake. This stuff can get ridiculously boring. It’s designed
to keep you awake. It’s also designed to help you remember it. Oftentimes, I hear students
walking down the hallway, and they say I can’t believe what my professor just said. And the
other guy, what? And the other goes it was ridiculous.
Then they repeat it and they repeat my lecture.
Whoa, dude! Do you guys mind if I take this call? It’s really—I mean I don’t get
it very often. Okay, hold on one second. Leo, how are you? It’s Leonardo da Vinci. I haven’t
talked to him in like 500 years. Who do you got there? Is Michel there? Hey, Michel, how
are you doing, man? Yeah! Yeah, it’s Sheldon. It’s Michelangelo, hey. No, no, no. You
keep asking. I think the David looks good. I’m not posing anymore. Yeah, so New Masters
is this thing, it’s like teaching like you guys did, you know the way you taught me.
We have a master draftsman here. I got to study with him for 36 years. His name is Glenn
Vilppu. Right, yeah, the guy who taught you guys. They’re all excited because they all
studied with Glenn Vilppu also. So that’s what we’re going to do right now, you guys.
We’re going to take you back 500 years, and it hasn’t changed. You still do the
same thing on the computer. The process hasn’t changed. I’m going to show it to you.
The supplies I’m going to start out with: This is a really cool pen. It’s made by
Pentel. I don’t really know the name of it cause it’s written in another language.
But it’s a brush pen. So it’s the Pentel brush pen, and they come with refills so you
just pop in the new refill. It’s really fun. So I’m going to use this,
and we’re going to go through a lot of supplies.
This is just your, everybody knows your Copic number #3 cool. Okay?
Okay, so here we go, one-minute poses. Now, we’ve already covered a lot of this information
in our lectures. This is your rhythm chart. Head is going to go forward, so I want to
bring the neck back. You’re going to use your anatomy in your lay-in. So coming around
here is the rhythm. That’s your Jeffrey Dahmer Training Manual and Cookbook. So you
want to group your anatomy. Rib cage is forward. See that? And of course, I’m doing from
left to right. Come on down. Feel the navel, which we’re going to do this way. Pelvis
is forward. Gluteus medius, gluteus maximus, pubic arch.
Always thinking proportions the entire time.
Okay, so now still one minute poses, right side. I’m just going to draw.
I’m grouping the legs together into one shape.
This is where you get to see your construction.
You see your block shapes. Like right there is under the po-po, which is the technical term
for the buttocks. Remember, the po-po and the woo-hoo. This is the po-po; that’s the
woo-hoo. They are cross-gender.
So this pose here, this one’s fun. Now we’re going to start getting into more of the rhythms
or the gestures. We’re trying to always think of these things as units. You have one
unit that is the head. Then you have the ribcage. Try to find the side planes as much as possible.
Group your anatomy. Here is the scapula and the arm. There you go. Remember, when you’re
doing the quick sketches just to get the story down as fast as possible. You know, if you
want to throw some tone in you can, but that’s going to be just on the side plane. Boom,
boom. See it’s on the back. Here’s the side plane. That’s all you need for a quick
sketch. See that tells the story. You have this nice line of action. You guys have heard
about lines of action. So that’s your line of action right there.
Now, the fun thing about doing the quick sketches
you can pull her over and see. Now, I want to bring the
head over more. So I’ll go like that.
This would be more of what you would call an animator’s rough.
There you go.
This one was the left side. Here’s the right side. Again, you guys can be
thinking about this line of action if you want.
She’s got her weight on this arm.
This is all the drawing at one time. This is doing G-cat all at the same time. When we start doing the longer
poses, I’ll start explaining more about what we’re doing. Here is your weight.
There you go. That’s all you need for a one-minute pose. This would be like your rough. Okay,
this is the left side. You can go a little smaller now.
So even if it’s a quick pose
I’m still thinking anatomy. What you guys are going to find is the more you get into
this the anatomy is your gesture. Okay? So right now I’m not going to talk while I’m
doing it cause I only have one minute, but I’m actually thinking about all of the anatomy
right now. In my mind I’m naming the muscles. Here’s patella tendon, gastrocnemius, vastus medialis.
Maybe just the shape of the head.
Okay, now we’re moving to the right side.
Let’s go a little opposite here. I’m going to put down the Copic first and just go for the silhouette.
You can start anywhere you want. Actually, you guys try not to start in the same place
on every drawing. You want to mix it up. It’s real important. Cause, you know, in animation
you’re going to have to register your characters. You don’t want to have them change the layout
because your drawing is in the wrong spot.
Also, don’t be afraid to change the pose.
See here, I’ve been able to bring the head down a bit. See that?
Okay, this one here you’re going to find her weight is on her arms and on her foot,
so remember when you’re, you know, I don’t really like having my students doing one-minute
poses. Two is probably the least that I do, the quickest. So if you’re doing a one-minute
pose you’re just trying to get the idea down because the idea is in your mind. You
have to try and get it on the paper, but it’s usually fairly, you know, it’s very personal.
Here’s my idea, like an animator’s rough. Even when you’re drawing in public you have
more than a minute, you know, to get a drawing down. But this gives us the gesture, which
is the story. Gesture is story. I think we’re going to get rid of the term gesture. I think
it’s too complicated for the students. They’re like how do you spell that again? What’s
the story? And that’s what we’re doing right now. There’s your story. That’s
all we need. Here’s your weight. There’s your graphic footprint.
This is kind of a classic pose. I’m going to have some fun with it though. I’m going
to change it a bit. There’s her shoulder.
Bring her head down. Give her a ponytail.
Show some drama. There we go. Just get the story down.
Okay, here’s a left side. Now, with two minutes we have a little bit more time to
start thinking through this thing.
When does your shoulder grow out of your nose?
When it does.
See how it’s starting to look—you don’t want to copy the model, but you do want to
look. You’re looking for like negative space, different, all the stuff that you’ve been taught.
Okay, so things to think about: negative space here, rhythms of course. Negative space.
Then the graphic footprint.
Done. Alright, moving on the right side.
Alright, so we’re going with the shape of the head.
Sternocleidomastoid muscle is real important. Take us down here. Keep the head forward,
you guys. People always ask me what’s stiffening up my pose, and it’s the fact that they
have the head going straight up. Only nerds have their heads going straight up.
Don't be afraid to change the pose. People ask, you know, how do you change a pose? What does
that mean? There’s a natural flow. There’s a flow to nature, flow to music. There are
things that flow. If you start changing that flow then it stiffens up the drawing.
I know that you guys study with my teacher, who is Senor Vilppu, and he always says that he,
you know, he changes the pose a lot. It’s cause we’re animators. Now, if I’m doing
a portrait. You know what’s weird? Even when you do a portrait you change the model
a bit. You know, you want to try to flatter them a bit.
But you see how this has this kind of rhythm to it?
That’s what we’re looking for.
That’s the key.
You know, if you want to put in your tone that’s just to hit the side planes.
If you go back to my fundamentals videos, you know what the side plane is.
Okay, so that’s that one. They’re real fast.
Okay, if you’re going to do a pose like this you want to be thinking more shapes.
So this would be a shape land. If you go back to my videos they’re talking about the different
lands. This would be a shape land. I’m just looking to see what grows out of what, everybody.
So you got that flow. Now the next thing would be the neck shapes.
The chest. Where does it transition? How does it fit right here? Right here is where it fits.
There is your flow. If you want to throw some tone in you can. But again, your tone is on the side planes.
This is the refill. I just draw right with the refill.
Alright, so this is a two-minute pose. Here you want to draw, you know just draw a straight line.
Keep everything off that straight line.
We’re going to push it.
We’re putting the rib cage this way.
Then we’re going to have the pelvis this way.
Weight is under the nose.
Here’s your Cal-state cool, your rhythms.
We’re going to change this, bring it like that just because.
The whole story on this one is going to be the shoulders.
Now, right now you guys are probably saying how do you hold the pen? How do you hold this
pen? How do you hold the pencil? Really, it’s any way you want. Just draw from your shoulder.
One of the things, like right now I’m looking a lot at my reference because you guys are
also looking at it. It’s like, oh no, what am I going to do? What if I’m slightly off?
Look mostly at your drawing. Don’t look too much at the model because then you’ll
also find yourself copying the model. When you copy the model the drawing gets stiff.
You want the drawing to have rhythm. Okay, this is a fun pose. She has kind of
a triangle shape. This is the right side. You can actually if you want to start with
a triangle. You just fit her inside.
Now, one of the things I want to talk to you guys about—we’re going to start our education
here now that we’re starting to warm up
a little bit. We draw for a reason. If you just want to draw for yourself that’s wonderful.
That’s great. But the professional artist draws for a reason. If you’re an animator
you’re acting. If you’re storyboard you’re doing your boards. You know, you’re plotting
out the film, the layouts. Designing the stage.
I work in homicide forensics. I’m reconstructing. A lot of what I do comes from a lot of reading,
a lot of studying, and then I have to see it in my mind. So that’s going to get a
little weird for you guys. I study and I read. I read depositions. I look at autopsies, autopsy
photos. Then what I have to do is I have to draw it. At that point I can see the actual
homicide in my mind happening in real time. Then I draw it. All this stuff that we’re
learning right here, whereas you might show this in a portfolio, it’s really so that
you can get your job done. Then later on I could finish this drawing and spend, you know,
20 hours on it. This is all I need. Also, it fits inside this triangle shape, which
is also really, really important. You don’t, you know, walk into Disney’s office and
say, hey you know, Walt, I’m really not into this odd number, Snow White and the Seven
Dwarfs. I want Snow White and the Six Dwarfs. He’ll say that’s fine, there’s the door.
So we draw for a reason, and in this case it’s just to get it down and fit inside.
This one is a really difficult pose, everybody, but it’s a two-minute pose. You think of
shapes or just what grows out of what. Hands growing out of her ear, scapula.
Neck, shoulder, arm, arm, texture.
I’m going to get to that rib cage shape as fast as possible. See where
it turns, which is right there.
Make sure your shapes are clean. Okay, now here the
leg is growing out of her arm right there, which would bring her hip right here.
Find those side plane, which are right there. There you go. If you want you can come in with a
little bit of gray to find those side planes. That’s shadow.
Light is coming this way.
Okay, now take a look at this one everybody. This is a five. It’s a really pretty pose.
I’m going to start with the hair way back here, and I’m going to work my way forward.
Scapula. These are landmarks. You memorize them. That’s all.
We’ll get into it in the figure drawing classes a lot.
Do the rib cage first then put on the breasts,
and gravity shows the mass and the weight.
You see me working the whole drawing at the same time.
Keep the drawing together.
Right now we’re going to start playing.
This is texture. This is texture.
We’re going to hit the side planes.
Then we’re going to put in a shadow. The edges on the side plane will give it the form.
Copic is drying out fast. Here we go.
Okay, this drawing is done. Might be a portfolio drawing right there.
Just want to get enough to tell the story, you know, know what you’re doing.
Sometimes you don’t want to go any further because then you have to do the same thing
on the whole drawing. If I add it anymore then I have to add everything.
So I’m going to hit some cores.
I can add more half-tone, but I’m going to have to
do that on everything. The half-tone is on the turning planes. Now, if you had too much
of these it will come to what Vilppu calls a hairy drawing, and you want to be careful.
I have Glenn Vilppu in my head all the time. I even—when I left art and went into business,
went into sales, even though Glenn didn’t know the sales at the level that I was doing
it, I had his voice in my head all the time. He called it the pragmatic approach to drawing,
which was having a procedure. That has stayed with me my entire life. I met Glenn when I
was 19. I’m 54. I work in forensics, and I’m still following the process.
So we all want to thank Vilppu for teaching us and helping us.
Not to mention Bill Perkins, who has changed my life.
This is a gorgeous pose so we’re going to stay with the same medium. But since we ran
out of Copic, we’ll move to a warm. Here’s a warm Copic. Okay, here we go. Let’s start
with the C7 on the vertebrae right there. It’s on the neck.
Sternocleidomastoid muscle here. Mandible. Cranium.
We’ll leave it alone because you might want to change this shape. If you’re having trouble with the
proportions of the figure you change the size
of the head. Leave the head to the last.
Scapula. Teres major. Teres minor. Latissimus dorsi.
Pectoralis. Mammary gland. You do have a line from nipple to nipple. Next time you take
a shower take a look. It’s there. If you put your arm up in the air
you will see that line move.
Okay, so we go here. Rhythm, rhythm. Alright, coming around here will be our back muscle,
sacrospinalis, trapezius. This comes around here, which is your serratus anterior to you
sternal obliques to your anterior iliac crest, posterior iliac crest, gluteus medius, gluteus
maximus. Straight line for the tensor. Even though you don’t see it, pull the line out
for your quads, IT band, gastrocnemius, patella tendon, vastus lateralis.
Let us not forget the important gluteus maximus, gluteus band, which mine stopped working years ago.
I got pulled over on the way down here today. It’s almost a true story. It turned out
my gluteal band was flying out the backseat of my car, the back window. The officer said,
“What is that out of your window?” I said, “Oh, officer, it’s my gluteal band. It
doesn’t work anymore. It just follows me wherever I go.” Here we go. Same thing there.
Coming down this way. Got that arm. Now we’ll bring the head down here now, and there you go.
Now we tie this together with rhythms, so here we go.
It’s all about the rhythm.
People out there know their anatomy. They take anatomy classes, but it doesn’t help the drawing.
This marker is going out too.
Let me use this for a core shadow.
She’s now lying on the ground.
paper. You should be able to buy this at any quality art supply store. The reason why I’m
using this is because I’m going to introduce white chalk. I even use the white chalk on
quick drawings. This is going to be a one-minute pose. Here we go.
I’m starting with the pose on the left.
Actually, I’m just going to start with the arm. I remember walking into class one day,
and I asked Glenn—if I say Glenn it’s Glenn Vilppu—Glenn, what are you doing?
He says I’m drawing. I go but where’s all the boxes and where’s everything? He
goes people don’t want to see boxes. What you’re going to do is study the boxes and
the structure, and that’s what we teach. That’s so important. Then you want to use
it. Right now I’m thinking about. Like here’s the corner. You want to be able to use that,
but you don’t have to necessarily draw it all in. You can do it your mind. So here’s
two butt cheeks. Two butt cheeks are better than one. Two butt cheeks will get the job
done. Here is the straight line there, which tells me that’s where the weight is.
Okay, and here we go.
Moving to the next pose, which is on the right side. On this one I’ll start with the head.
The ear is real important.
Pull around. You’ll find a lot of descriptive terms. Pull around.
Push around. You’ll start seeing the similarities. We’re all descendants of Vilppu. I was hanging
out with buddies the other day; Leonardo da Vinci, Michelangelo, Raphael, all those guys.
We were all reminiscing because they also studied with Vilppu. He pretty much trained
generations and now we get to do it. You’ll find that Glenn uses these action terms, you
know, push, pull, tuck. That’s what you’re thinking about when you’re doing these drawings.
Okay, now I’m starting with the one on the left. This pose, you can’t hold this pose
for more than just a fraction of time. That’s where a lot of students make a mistake. They’ll
do a pose like this, and they’ll turn it in for class, and I want them to only draw
from live models. They’ll go, yeah, that was from a live model, and it’s a 20-minute
drawing. You go, right, the model held that pose for 20 minutes? Yeah. A lot of them also
draw their boyfriends and girlfriends, and I don’t like them doing that either because
they’re good artists. They give you these really detailed drawings, and then I get to
meet their boyfriend and girlfriend. What do you say? Nice to see you again? I just
saw them naked for God sakes in a drawing. So you want to draw from a live model as much
as you can. But a pose like this, you’re not going to be able to hold this pose for
more than a minute. There you go.
You can actually go in there and start putting in
the white chalk if you want.
Alright, doing the pose on the right. This is a huh? That type of a pose.
Work with law of opposites. We talk about that a lot in the figure drawing lessons.
Face going this way, body is going this way. Notice we draw down and around. Down and around.
There are your cross contours.
There you go. So you can actually, once you warm up
you can block in a figure in less than a minute.
If you want to come back in with tone.
Get the side planes in. And watch, put in the white.
In one minute you can work with the different techniques.
Okay, so now we’re going to the left side. Changing the tools. A lot of people ask about
techniques, so let’s talk about techniques.
Technique is just there to keep the artist
from going crazy. Alright, so don’t worry.
If you can predict the results of what the
thing is going to do. That’s the technique.
That why in my class I draw with a candy bar.
If I can do a Renaissance drawing with a candy bar then obviously the technique isn’t the
issue. But wow, talk about people selling smoke and mirrors because the first thing
they do is they ask, you know, what tool are you using? You usually say magic one. You
got to know what you’re drawing.
Alright, pose on the right side.
He’s looking this way.
If you’re doing quick sketches, don’t be afraid to put in little notes. Help draw
an arrow because as we said before, you’re drawing it for you.
These are your notes for your finished work.
You’ll find I’m not really looking at the drawing that much.
I'm not looking at the photo that much. I’m mostly looking at the drawing.
Okay, on this one I’m going to start with the scapula. I want you starting at different
places in your drawing because if you’re doing a storyboard, if you’re doing a drawing
you’ve got to make it fit, you know, and it’s real important to be able to draw from
any part. Now I know you tech people out there, I can hear you, you’re saying, yeah but
I have a Cintiq or I have Wacom, and I can move it and I can trace it. I can do all that
stuff. Yeah, but by the time you guys do that us old guys, we’ve already moved on to five
more drawings. So it comes down to the time. The difference between a professional artist
and an amateur artist or hobbyist is time and scheduling. We never get time when we’re
professional artists. They never give us time. It’s I want it now. I want it yesterday.
Okay, I’m going to have some fun. I’m going to draw over this with red. In the Renaissance
paper was expensive so that’s why you see them
drawing over. We’ll pretend we’re in the Renaissance.
So notice that during this lay-in process you’re really putting
down the anatomy. Even in a one-minute pose you can see the anatomy.
Get that action.
Action is just this. Curve against curve.
Okay, this pose here, I’m going to do a
scribble. I want to show you guys different lay-ins, you know, as much as we can. Got
that nice line of action. Strart breaking it down into your proportions. Now right there
I can see, here’s my acromion, scapula, deltoid, and all the way into the arm and
then to the lats. Center line, bottom of the rib cage, external oblique, iliac crest, anterior,
posterior, gluteus maximus. Straight line where the tensor is, quads, gastrocnemius.
Straight on down. Arms coming back. Lats, scapula, erector spinae muscles, and here
is your sacrum, gluteus maximus low, going forward. And there you go.
Alright, moving on to two’s which is a forever amount of time. Alright, here we go. Back
of the neck. Now we’re going to come down here. This is 7th vertebrae, 7th cervical
vertebrae, C7. We’re going to have arm coming towards. This line right here is everything,
you guys. It tells me what direction the arm is going. It’s coming towards me. Midline,
got a nice little S-shape happening here. Look to see where the rib cage is poking out,
which is here. Law of opposites coming back in this way. The back of the head. You’re
working the drawing all at one time. Now, when you look at my drawing class we break
everything down. Gesture, construction, anatomy, technique, but when you’re drawing you do
that all at the same time. So the definition of drawing is GCAT; gesture, construction,
anatomy, technique. But you don’t go through and do it all. You can do it all at the same
time, and that’s drawing.
Look at that rhythm. Boom.
Okay, this pose here is going to have more overlapping forms so the shapes…
You also get to mix and match when you draw. You can use shapes and scribbles.
So we’re going to quote Senor Vilppu where he says, “No rules, only tools.” If it works, use it.
I call it the “Raiders of the Lost Ark” School of Drawing. If you’re walking down
the street and you see somebody, and they’ve got this giant sword, and they want to fight
you with the sword. If you have a gun, shoot him. Okay? So if you’re doing a drawing,
and you have an opportunity to use, let’s say in your lay-in, but you’re like, oh
no, I could only scribble in my land. No, go ahead and use the shape. Who cares? They
don’t have the lay-in police walking around the studios saying, ooh,
I’m going to tell mommy. You used this.
little more time to do your lay-in.
Right there, that’s just his pectoralis going over the deltoid.
I think this is really good. I should assign all my students
to see these videos. The reason is I say, well, what does Sheldon think about, you know,
what does he do when he’s drawing.
Well, he doesn’t talk. You want to get into it.
You want to get into the drawing. I float. I call it floating away in another world.
Here’s your sternum here. It’s very hard. This is soft.
This is to back up your lectures. You’re just seeing me draw, I guess.
Here’s your complex. Here’s your simple. It’s the composition we’ve talked about.
Cast shadow. Core shadow.
Trying inside the shadow.
Iliac crest, come back in now and put in the head because you know where you want to put it.
I’m going to turn it.
I’ve got a great twist happening here.
Think of the box shape here underneath. Here’s my box.
Keep the leg connecting low. Do not connect it up at the iliac crest.
You’re going to stiffen your drawing. Put a straight line there even if you don’t see it in the photo.
This is a key area right here. I’ll put a straight line for the buttock area and then pull the buttocks out.
These are fun poses. I really like these leaning poses.
I’m going to put in a scribble for this one.
These are landmarks, pit of the neck, sternum, naval, pubic arch, rib cage poking out.
Here’s your box shape right there for the head.
Keep the arms away from the body. This is going to go back.
It’s going to come towards…
he’s really leaning on this one. It’s going way up in the air.
Pull the pectoralis up.
There’s your perspective.
Once you have your lay-in down you can finish really fast.
These lines, I like to animate like this, like this, like that.
And then jump off and land here.
Feel around this way. On to the leg. One, two, three, long, box shape.
Long. Soften shadow. Same thing here. Pull the eye up.
on. We’re going to stay with this. I really like this. This is the Pentel brush pen. They’re
really fun. You can buy them at most art supply
stores. The white chalk is a Pitt pencil.
Pitt pastel by Faber-Castell. We’re also going to be using that. We’re going to add
this. This will also be the Pitt. This will
be the color—doesn’t have the color on
here, but it’s the number 1122-190. And
then this one here is a little bit darker.
And that’s 1121-280. These are all very
dry medium. This doesn’t—it’s not water
based. You won’t be able to put water on this. This is just your general charcoal pencil,
nothing special, number 557. It’s a 4B; B means soft.
H means hard. So they’re telling
you it’s soft. This is a water brush. You
can buy these at art supply stores. They’re
really fun because there is water inside.
We’re going to use that for this tool.
Now this is really cool. These are not something I’m going to recommend you buy, but we’re
going to get started with this. These are fountain pens, and these are a drug you guys.
They’re really bad. They’re really, really
bad for you. This is a Waterman. I don’t
remember the name of it though, but this is
a very expensive pen. It’s probably $300
or $400. The way fountain pens work is in
the nib. This is a gold nib with a rhodium
coating, and they’re all handmade. They’re
just gorgeous. This is a really cool pen.
This is a Waterman. We’ll probably use some of these. Watermans are French, made in France.
This is one that you guys have probably all
heard of; this is the Monteblanc. This is
Monteblanc, and this is the Mozart. It’s
really small. It’s a tiny little pen. It’s
about $300 or $400, so a lot of money in a
little package. And this is called the Traveller,
and this is one badass pen. This is about
a $500 pen, and it’s just gorgeous. So when
the time is right, a few little pills will
get you to this one. Remember, if this pen
is feeling big in your hands for more than
four or five hours, call your doctor.
Quick sketches. Welcome to the fountain pen.
My advice for buying fountain pens: Don’t. They’re a drug. I have about 60 of them.
I even have some that are probably over $1000 now. [Grandma voice] Oh my God, you have a $1000 pen?
Well, it was like €1200 so you tell me people who are in Euroland. How much would that be?
How much is €1200. A lot of money, huh? I didn’t pay that. I think I paid $400 for it.
Do they make you draw better? No they don’t. They do not make you draw better.
They’re just fun.
This is such a beautiful pen though. They’re really well made.
Remember the tools are just to keep you from getting bored.
The drawing, the actual principle of the drawing never changes.
She’s really got her weight on this arm so we’re going to start with this arm.
Coming into scapula country.
Follow the nose. The nose knows where the weight is.
We’ll put the nose right over the hand.
These are landmarks, sacrum. That’s where
the tattoos go. It’s the canvas.
Cal-State cool here. Bring this leg back just two shapes.
Here we go. She’s got her arm. I’m going to teach you guys anatomy,
and I’ll show you what the scapula can do.
Okay, let’s move on to a different pen. They all feel different. It’s crazy.
And they’re moody too. Like you’ll have a pen that’s not working really well one day,
and then you’ll go another day and you’re like, wow, what happened to you?
You're happy now? You’re a happy pen now?
But I don’t play golf, and I don’t own a boat.
No midlife crisis here so I don’t need the sports car. I’m very happy with my car.
I’ve got the greatest kids in the wife and a flawlessly perfect wife
so art supplies, yes, art supplies.
That’s a quick sketch.
Now I’ve switched pens on you. This is an amazing pen, and it’s only $45. We sell
them at our school. They sell them at art
supply stores. It’s called the Lamy Safari,
and it is by far the best. Steel nib. It’ll
be the last thing standing after the end of
the world. These pens will still be there.
And they’re wonderful. So with all the pens
that I have this is the one that’s always in my bag.
It’s just a great pen.
It’s really funny. Like if you own a Rolex watch you check the time to your phone, you know,
cause they don’t really keep great time. A lot of times you get these real expensive
pens and they don’t work too good. This one always works good. It’s just a great
pen. I wouldn’t even worry about getting any other pen. Just go buy yourself a Lamy
Safari and life will be good.
Alright, this is a two-minute pose which gives us one more minute. I know that because I
have a calculator on my phone. You get to take a little bit more time. Don’t be afraid
to add little techniques as you go.
Now, I can hear you guys out there, you know, in
your dorm room in Kansas going [surfer voice], Dude, you know, like dude, man, like where
are you teaching us how to do this? You’re just drawing, man. You gotta show us what
to do. I’m like chill, man. Just chill.
This is how I draw. This is what it looks
like when we’re drawing. Okay, dude? Okay, dude. Dude, dude, okay.
That’s why you have to draw a lot. I consider drawing to be a biological function. I start
usually when I wake up in the morning, and I draw all day until it’s time to go bed
at night, and then I dream about it. I study nonstop. I have over 1500 books in my library,
and I study and draw. Study, study, study.
Alright, continuing on the last discussion. Same thing. I ask students did you draw this
week? Yeah, I drew for, you know, 20 minutes. Forget it. If you skip just one day of drawing
you go back to zero. I skipped the entire winter break of drawing from a model and just
got back into it last week because I’ve been so crazy busy. Wow, talk about rusty.
You’ve got to get in front of the model. It’s just working out.
I’ll give you a little bit of insight. If you eat four pounds of candy and you don’t work, you put on
weight. See, it works that way? My students bought me C’s candy, a lot of it during
Christmas. I didn’t have my exercise equipment because we were doing work, and whoa, I got
on the scale and said, no, this is somebody’s else’s scale. And the scale said, no, it’s
you. I said, no, it’s not. So you’ve got to think of drawing as not the finish; it’s
your working out. It’s your exercise. It’s what keeps you in shape so you can do the other work.
So now I’m getting back into my college semesters. I teach at two universities.
I’ll have four figure drawing classes a week plus my own school. Plus, I’ll go draw
at a figure drawing session just with a live model one day a week. That’ll get me back
in shape pretty quick. So this is about as rusty as I get.
Okay, we’re going to start with the one on the left, and if you go to the right side
and turn left you’ll be right there. I’m going to try to put some white but also some
a wash on here and see what happens. This is your motivator. That’s where the rib
cage is poking up. So we go from there and around. It’s down and around. Down and around.
Down and around. Here we go. One thing that I do do, now that we’re waking up and getting
a little talkative here, is I have students that I train. I mentor them. I train them
to be really good, and then I study with them. So this break I’ve been studying perspective
every day. Glenn Pauline is a master draftsman. He is amazing, and he is only 22 years old.
I’ve known him since he was 10. Ally of course, and she’s also a sweetheart. I’ve
known her since she was a little kid. I think she’s 19 or 20 now. Alan Long has been teaching
me perspective. I think he’s probably like 20. He’s a little bit of a genius. We want
to make sure that you guys understand that you’re always learning and you’re teachers.
That’s okay. I train my own. But is study with them, and I listen to them.
So what this is doing is it’s melting the ink. It’s pretty fun. We’ll do more of these.
These are really cool. Now we’re going to move to the right side. Same thing.
So as I was bragging about my kids, of course Jake is amazing. Jake is I think 19 now, maybe
20. Oh is he good at perspective. These are also kids that teach at my school. They’re
just so good. They start teaching when they’re about 15. Ally has been teaching college students
since she was only 14 years old. It’s always kind of cute. They come in, they’re all
these badass students, and then a 14 year old sits down and teaches them. They know
this stuff inside and out. They start learning it at our school when they’re about 7 or 8.
We teach master draftsman to our school when they’re really young.
Rhythm going. Just push that rhythm.
We want to dedicate a lot of what we’re doing this session to
my kids who have been training me during the winter break as I train them during the winter break.
Which is another thing I think I really want you guys to be thinking about out there
is check the ego at the door.
Who needs it? Just study and learn. My favorite ones to
get critiques from are the little kids, like 7 years old. If you ask them what they think
of a drawing they’ll tell you. The hand looks funny.
They’ll really tell you what’s good or bad.
Okay, this is also a two.
Think of the anatomy as drapery.
Push the head down here. More drama.
That would go in a portfolio. Finally getting there. This would be a portfolio drawing
except it needs a hand. It’s simple, tells a story. Okay, so we’re going to continue
with the two’s. I like to play a game with my class called Do You Feel Lucky? You try
to fit the drawings on the page. The size of the head is going to determine the size
of the drawing. You notice how I made the head smaller.
I have to apologize to you guys. This is the most serious I’ve been in a long time.
What happened is in the college the students started
taking my classes serious. They believe my lectures are real. How? They’re ridiculous. So I’m
still kind of coming out from being—so what I did is I turned off all the humor in my
lectures, which are all rehearsed. They are scripted. I did these serious lectures. Oh
my God, they were so boring. Students said to me, they go, a funeral is more exciting
than your class now. And I said, oh my God, that is the nicest thing anybody has ever
said to me because, you know, they’ve always been so crazy.
But this kind of threw me a little bit surprised because, you know, when I do sit and draw
I’m not talking. I think that’s one of the thing that most of the people out there
should understand especially when you have a Chatty Cathy teacher like me who will, like
I know on Friday at San Jose State, man I’ll talk for 10 hours because I’m lecturing
and singing and dancing and having all this fun. But when I’m at home and I’m working
I’ll go for days without talking because I’m in my studio. I’m not all crazy with
the family, you know, I’m just pretty quiet. There we go.
over here. We’ll fit this one. This foot will go right in the negative space. It’ll
go right here. I’m going to start with the arm.
The fundamentals that you’re learning, and that’s why I like working at New Masters, understanding how
important the fundamentals are.
They apply to everything. You go from drawing Bugs Bunny to homicide forensics.
How do you do—you know, that’s what I’ve done in my career. How do you do that, you know?
Well, it’s the same fundamentals. Even the subject matter isn’t too much different.
Look at Wiley Coyote. I want to do a forensics, an absolute homicide, and do the whole thing.
Autopsy photos, crime scene, everything, and I want to do it where the coyote finally catches
the Road Runner. Wouldn’t that be funny? You know, we’ve got depositions and photos
of the coyote. Snapshots of his mug shots. Cause of death, of course, would be for the
Road Runner would be squashed by giant rock. I wonder if Warner Brothers would sue me for that.
But it’s the same thing, you guys. It’s just fundamentals.
You spend every day working on the fundamentals.
Then whatever project comes your way, you’re ready to go.
We’re going to go to the charcoal now.
See the way she has her head going that way?
I'm going to change it a bit, I think. Let’s see what happens.
I like to go law of opposites.
Okay, here we go.
Rib cage is poking out there. That would be the motivator.
Scapula, acromion, deltoid,
olecranon. Bend the arm.
Now you want to be thinking rib cage and pelvis, separate units. So this is your
rubber band that hold it together, which are muscles.
Now what you can do at this point, if you look at that and you say, you know
what, I don’t like that. I want to bring this drama. I’m going to take that head
and really just bring it down. Change the pose.
One of the things I finally get the classes to understand when we’re studying, the model is not going to
get that pose perfect to everybody in the room. Get used to changing a pose.
Nobody is going to know the difference when they look at it later.
Here we’re going to start on the pose on the left. This is a pen, it was weird. It’s
like this art supply store I had, it’s called a memory pen. You’re not going to be able
to find them. They don’t exist anymore. But it’s still a brush pen. Maybe you’ll
find it online. It’s called a memory pen. They’re really fun. We found them and we
all bought them, all my kids. But it’s a really fun little pen.
I haven’t used it in a while. I thought this morning, well, let’s bring it back.
The thing about it is you can barely feel it. It’s really fun.
Look at that, you just, it’s like it’s
so silk soft. You can barely feel it on the page.
So the lesson in this one, class, if
it can leave a mark on the page then it’s a technique.
The definition of a technique is anything that you can predict the results of.
And the drawings are now starting to flow a bit.
Another thing I do is I’m always drawing to music. In here I’m not. But I
have a lot of headphones. I love my headphones. I have a sound system in my studio.
In my classrooms we always have music playing. The only argument is whether it’s my music or
theirs. And it’s usually mine because, you know, come one. Meatloaf? That’s like biblical,
you know? We listen to, like if I want to draw something and I want it to be really
aggressive, you know, I’ll kill you if you don’t go back, I’ll listen to Meatloaf
or Led Zepplin or Genesis. Dude, that’s like in the Bible, man, that’s biblical.
I listen to a lot of Genesis and deep music like yes, wow, that’s trippy. You get lost
in the music. You get lost in the music, and then you get lost in your drawing.
Drawing is just visual music.
When I’m drawing I’m not thinking about gesture and construction
and anatomy technique. By now that should be all second nature. I’m only thinking
about music, story, emotion, feeling. What do I want the viewer to feel?
There we go.
And that would be a portfolio. So, so far this whole page, this one probably not, but
so far this would be a portfolio.
I’m going to put a straight and then a curve. That’s my design.
The arm is coming across.
Got a nice twist happening. So we’ll come around and feel it back.
Now we’re going to put in some tone.
This will give us a shadow pattern.
This pose has a really nice shadow pattern.
Copic warm #3. The Copics, they run out of ink so fast. You’re always refilling them.
Pretend like this white chalk is actually a light that’s
coming down and hitting the form. Just draw right on top of the form.
Again, go back to the fundamental videos because we cover that a lot.
for art supplies. Man, it was like such a joy to go in and buy art supplies. Today I’ve
kind of endorsed so I just go in there and take what I want. A lot of times they just
give it to me. I even own my own art supply store. We have one at our school. Imagine
owning your own art supply store. It’s just a dream come true. So I’ve just brought
an art supply store with me today.
This is a Tombow. These are good pens. They’re
different than the Copics. They’re a little
bit stronger, and they’re water based, where
the Copics are alcohol based. Okay, so we’ll
play with this. Of course, the Pitt, Faber-Castell
Pitt white chalk. This is the best. I just
go right to this. I wouldn’t even deal with
anything else. Of course, the pen that we
can’t find anymore, nice little brush pen.
The Pentel brush pen. Oh, there’s the feeling.
When you hear that sound your life just passed in front of you. Minus one Pitt pastel.
This is another Pitt pastel, and this is cool.
And then a couple markers. These are just
your everyday markers. This one right here
is a Pentel, just a pretty little marker.
It’s a lot of fun. This one here is spoken
in this language, and if you guys know what
it is you’re smarter than I. It’s the Kuretake.
They’re just fun little pens that we’ve been able to find.
So buckle your seatbelt. Let’s do some one-minute drawings.
Alright, we’re starting with the one on the right. I’m sorry, we’re starting with
the one on the other right. We’re starting the one on the left. Basically, just turn
to your right and then go the opposite direction. That’s the one that we’re using.
I’m going to hold the pencil way back here, okay, the pen. Here we go.
Just think of it as wire.
I’m bending the wire.
This is a lay-in. It’s all about rhythm and flow.
Then you can come back in and add some
more information if you have time. Down and around.
Down and around.
These lines are straight.
Moving on the next one. People always have trouble with back views, and they shouldn’t.
I think the best place to study the human back is
at the mall. The Pretzel Spot.
The pretzel spot is hot. It’s a place where people go.
They don’t actually eat the pretzels because if they did they wouldn’t be going there.
It’s where the good looking people go and hang out. That’s why Pretzel Spot is hot.
You can actually stand there and admire these people standing there, you know, that are waiting in line,
and actually run your hands across their backs because they have their backs to you. That’s what
you’re thinking about when you’re drawing. You’re literally just running your hands
over those bumps. You just need to know what the bumps are.
That, of course, is done in our anatomy classes.
Pretzel spot is hot. What a great place. Just go to www.pretzel_spot_is_hot.com.
You’ll see all these good looking people.
I’m going to add some white to this to see what happens.
Alright, we’re starting on the left side. For your people who are animators
this is all we’re doing.
We want to keep it open. See like right here it’s closed. I’ll go
dark and then dark and leave this area open.
Do not close off your shapes. You’ll destroy your drawing.
Boom, leave that open. It’s like water running down a mountain.
Let it flow.
New pose. It’s the one on the right.
Do not be afraid to push the pose. You’re telling a story.
Why do you draw? You draw to tell stories.
We get some little spots.
Okay, this is the pen that has not name.
[sings] I’ve been through the desert with a pen with no name.
If I spoke the language I could remember the name.
But it sure feels good.
If you’re driving down the street and you’re feeling your pen; be careful. You’ll get arrested.
Just occasionally, just feel it and be done.
So this is a wire lay-in. The reason why the wire lay-in is important is it will allow
you to make changes, actually make changes to the pose.
Then on top of this we put the finished drawing.
Take your Copic marker and throw in some side planes.
Okay, we’re going back to the brush.
I’m going to change this pose. Bring this leg here; bring that one there. Isn’t that
fun? Look at that. He’s a contortionist.
Alright, here we go. Two-minute poses.
Right there. That’s the motivator. It’s where the rib cage is poking out.
Push the pose.
Now we’re going to move to the right side. We’re going to stay with the same technique.
Okay, here we go. We’re going to stay with the same tools.
Alright, let’s try a new technique.
We want to move back to this brush here. Here we go.
Okay, moving on to the one on the right. This is a beautiful pose. Ready? Here we go.
Starting with his deltoid.
Okay, we’re going to do this one. It’s the only one on the sheet. And I got
all the way down here. Still a little bit of Renaissance stuff. We’re just going to
draw over because paper is expensive, and we don’t want to waste paper. So we’re
going to draw right here right over the top.
Okay, ready. Moving back to the fountain pen.
Here’s your lay-in.
Now, if you have time you can go in there, and we’ll just put in little shapes.
This foot goes right into this leg.
It looks like a core shadow. That’s really fun.
Alright, I want to take a little more time with this. We’ve got five minutes. I might
want to do something different with that head, make it more dramatic. I’m going to start
with the shoulders. We’ll put two on this.
They say that the drawing is in, it’s on
the paper. Like Michelangelo, he said that
sculpting is easy because the figure is inside
the marble. You just have to chip around it. So if you take that concept into drawing,
the drawing actually appears on the page.
You just have to trace over it.
You want to push as much drama out of there as you can.
What if we brought that head way over here?
Wow. Okay, we’re going to push that neck. The body is really pliable.
So I’m known for being a talker. I’ve always got something to say. But when I’m
drawing I’m quiet. When I go draw, just go draw at sketch group, I’m quiet. I have
my headphones one and crawl into that world of drawing of an artist.
I had a woman walk into my school.
She said I have a terminal illness. She did not look good. She goes I
hear that drawing can take you to another place. Can you take me there? She goes I’m
in a lot of pain. I go I live there, you know, I’m always lost in that world of being an
artist, daydreaming. But I go it’s going to take a while to get there. I go I’m more
than happy to help you and work with you and stuff. I never saw her again, but she had heard about it.
Really pushing this pose.
So when I work, well, I’ll tell you days go by. Tonight I’m going to go home and
work. I’m going to work on an arson, a huge
building that burned up and just get lost.
Put on your favorite music and go away.
You can take the black and push the accents.
Okay, so that’s really pushed. This one is tough. This is what I call an accounting pose. So
what you want to do is see what grows out of what.
Everything is growing out of something.
Here’s his head. Growing out of the top of his head is his shoulder. See how it works?
Growing out of the back of the head here is his back. There’s his neck. It’s just
kind of—but you don’t want to copy because the problem with copying is that you’re
not always going to have a model. You’re going to have to draw this out of your head.
If you can’t draw it out of your head I really don’t need you. I think that’s
the realization that as a professional I need to be able to tell you what I need, and then
you go ahead and do it.
Finding references today is easy. There is nothing wrong with that. We have this thing
called the internet. So it’s really not hard. It’s not a problem. You don’t want
to sit and become a slave to it and just copy it. Use it as your guide.
As Jiminy Cricket said, only let the internet be your guide.
Look for the turning planes right there.
People ask me a lot, what do you do as an artist? I say you study, research. You work.
He’s like a hunchback. I am not an animal.
gray, which is going to be a lot of fun with these tools. This is what where we start getting
into what we call jewelry. These are handmade
pencils. They are lead holders. I just want
to show them to you. We’re going to use
these. I’m going to start with a ballpoint
pen. They’re beautiful. They’re really, really fun. Again, if you don’t play gold
and you’re an artist then you go ahead and you get these things. Look at how beautiful
these are. That’s when it starts getting dangerous. I just collect art supplies, that’s
all. I just love them. It’s just gorgeous. But they’re fun. You just buy the lead separate
and you put them in and bingo-bango.
This is a handmade, just a ballpoint pen. I just think they’re sexy, which makes me
a little weird. Yes, I’m married and she’s normal. I’m just not. So this is a beautiful
pencil, okay. A beautiful pen. So I’m just going to draw with ballpoint pen.
Alright. My favorite thing in the world to draw with is a ballpoint pen.
I bought my first fountain pen in Copenhagen, believe it or not. I was there working for Warner
Brothers. I wanted something to remember the trip, and I bought a pen. Wrong move, boy.
I guess that’s why I don’t drink because I have an obsessive personality.
Next pose is the one on the right.
Again, I usually have music going. It kind of helps
with the rhythm, but that would be a little irritating.
Okay, the next one we’re going to start with the one on the left.
Absolutely gorgeous pose.
This is what fire looks like.
See that flow?
If you want to be an animator, story artist, just sketching in public, this
is what’s important. You can get your information down as quick and direct as possible. There
we go. We just beat the minute. It even has design. See that?
Okay, now we move into the next one which would be our right. If you’re dyslexic it’s
your left. Okay, here we go.
I can say that because I’m dyslexic.
What I do in my forensic work is I just put a left and a right in the drawing. This is their right and this is their
left. I usually put it on the shoulder or something. It’s pretty funny. It helps with
the courtroom because maybe there are jurors that are dyslexic and they don’t want to say they are.
We beat the minute again.
Okay, here we go. This is a great pose because you’ve got a straight line. Bam! That’s
your gesture. Look at that. She is good. That’s when you know you’ve got a great model cause
she’s doing the design for you. Look at that. You get a model like this, boy, you
keep this model. Look at that. It’s all working right off that straight, that diagonal.
Even into her arm. Oh she is so good. Wow, talk about power. It’s all right there.
That’s your lay-in. That’s all I would do for an animation rough. It would be that.
This is how I draw professionally. I just want to get the information down.
I’ll start with the arm.
Just go for the energy.
That’s your story.
Bam! Beat the one. See it?
That's your animation rough. The tough part is keeping this energy in your drawing as you move into
the painting and the gesture and everything as you finish it.
Okay, we have one more one-minute pose, and what we’re going to do is just lay there
right across the floor right here. This is a fun little pen. It’s cute. It comes with
refillable cartridges. It’s strong though. Ready? One-minute pose.
Tell me when.
This is your shape lay-in. That’s all you need.
Okay. You’re going to use this really pretty
pen holder, but inside it’s just going to be just a red kind of a crayon. And I like
my white chalk. Now, we want to be careful here. Listen up everybody. This doesn’t
like this. This has wax in it, and this is chalk. They’re not going to like each other.
So if try to put this over this it’s going to slip right over. So you’ve got to plan.
So you really need to be thinking shape while you work this way
if you’re going to put the white chalk on.
Leave areas open. Allow the eye to get through.
I’m going to switch over to the brush pen on this one just because it’s such a complicated pose. I want you
guys to be able to see the lay-in. Alright, so let’s have some fun.
This is an oye I have a stomachache pose.
Ohh, my tummy hurts.
There we go. Guys, this is really important.
When you’re doing a pose like this you’ll have to start with
the form. Otherwise, she’s going to be flat on the ground. Something is flat, it doesn’t
have any form. It’s hard to get form into it. So you’ll see me start immediately with
boxes and figure out that we’re staring into the rib cage, and so the rib cage is
going this way. Pelvis is going this way. Okay, there’s the head, back of the jaw,
neck, shoulder. I want to get that rib cage going up. Real important, it’s how we’re
balanced. You’ll see it in the figure drawing classes. This is crucial. This is Figure Drawing
I. Get that rib cage going up. That pelvis going back. So we’re seeing the end of the
rib cage. We’re seeing the end of the bottom of the rib cage and into the top of the pelvis
all at the same time. Just like that woman I talked about on the beach, walk on down
that figure. Feel the form and the rhythm. Every one of my lectures has some meaning
to it. You just have to really listen.
When the kids, some go, I don’t get your lectures.
Well, you weren’t listening.
I’m going to color this in so you can see there’s structure right there. Real
important. See that? Okay, here we go. I’m going to go back to direct drawing.
Okay. We’re going to start with the ear.
I think, you know it’s interesting when you’re doing this really fast drawings you
usually don’t, you know, you’ve got to really focus. You’re doing a 20-minute drawing
you can take a moment and discuss something. But man, these quick ones are tough. You’re
not putting in less information. You’re putting in all the same information, just
doing it faster. Actually it’s not fast. It’s pretty still and pretty slow.
In my class I only do five-minute poses, the least.
But, these are fun.
Here we go. That would
be a portfolio drawing. I would scan this one and put it in a portfolio.
The reason why is because it’s consistent from top to bottom, left to right, right to left. It
just needs a hand. You have to have hands in a portfolio drawing. People don’t know
how to draw hands so they leave them out. And he needs to have a foot. There’s your foot.
Okay, that would be a portfolio drawing.
green, hit it with some black accents with the graphite and come back in with white chalk.
Alright. Okay, there’s your lay-in.
Going right for the anatomy.
Yeah, you really gotta focus when you do a drawing like this.
So you’re usually going to be very, very focused.
This is an accounting pose. What happens if you get a
little bit off, as Tweety Bird would say, “You’re screwed.”
You also need to connect your lights and your shadows for it to read.
There we go. Let’s bring this hand out.
Okay, that was a tough pose.
Pull that rhythm all the way around.
She’s going to fall in a second in this pose. Her nose is here. I’ve got her weight way back here.
This would be a pose that could only be held for just a short amount of time.
But it's fun.
That’s how you hide a mistake. Just pull the rhythms around.
Okay, it’s just kind of celebration of rhythm. How’s that for a line of art talk?
In this pose we celebrate the life of rhythm. In other words, it was a bad drawing.
So, you’re homework assignment, everybody, is to write
down on paper or on your mind, “Why do you draw?”
You draw for a reason.
In the Renaissance it was called cartooning to work out their paintings.
For animators it’s to act on paper, or in Maya.
Nobody ever said that drawing had to be done with a pencil. It can be done with a rig.
It could be digital.
But why do you do it? You do it to tell a story.
The world has always needed the artist. The artists have always sat at the table with the keys.
But like any other career, you need to be trained,
and you need to do your homework, and you need to study. But love it.
Do it because you love it. And you’ll never go to work a day in your life.
This drawing is done.
But we still have some time, so I’ll go in there and hit some areas.
I think for everybody who has seen my YouTube videos,
been in my classes, and have accused me of being crazy,
this is the real Sheldon. I am quiet, sensitive, get my feelings hurt really easy,
and I’m an artist. I draw.
The rest is all an act.
So you’ll find that five minutes is a lot of time when you’re drawing. Okay.
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19m 43s2. Session 1: Angelique Part 1
17m 4s3. Session 1: Angelique Part 2
15m 19s4. Session 2: Will Part 1
17m 0s5. Session 2: Will Part 2
21m 27s6. Session 3: Daria Part 1
18m 8s7. Session 3: Daria Part 2
20m 12s8. Session 4: Ryan Part 1
17m 24s9. Session 4: Ryan Part 2
20m 17s10. Session 5: Tiffiney Part 1
18m 15s11. Session 5: Tiffiney Part 2