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0:00
Hey everyone, welcome. Uh, so I wanted to share something a little different this time, something really special uh, to me and and I think unique. This is a lecture from John Watkins, one of five that I was able to record uh, when I was a student of his. And John Watkins is by far, I think, one of the most um amazing and influential teachers I've had and the most mind-blowing in terms of teaching ability, artistic ability, creative ability. The principles that I learned
0:32
from him in his classes influenced the the way I use anatomy, teach myself, um think about composition. It was the most complex teaching around the figure that I had encountered. John is an esteemed or was an esteemed illustrator. He did everything. Worked for everyone, comics, um, visual development, for Disney. The biggest impact he had on me was just as a as a student of his. There's a number of of books and pamphlets that you can find on John. Um, sadly, he did pass
1:02
away very young at the age of 55. Um, so I wanted to share one of the lectures that I was able to record. It's again older, but I think the wealth of the content is it's invaluable. And so, while I do feel a little weird about sharing something that is not of my own, I've been sitting on these for nearly 25 years. And I think it's a shame not to share them, to not have John's um kind of genius and ability to communicate and teach um still impacting people in some way. Yeah, I
1:37
hope you enjoy. If you have any questions, please let me know and I'm happy to in this video. I'll be including all of um links to John's teaching materials in the bottom so that you can access those if you're interested. Thanks. This evening great competition forhortening when limbs are bent and in awkward angles. How do we deal with this? And there is a way to do it without tedious measurement. It's a geometric solution. So I'm going to sort of invent oh brain around it first
2:28
is the most important thing uh because I'm a photographer a live drawing artist with a sense of aperture. So I'm going into the states now find there and I'm going to give them bonus. Now I'm going to think of something with 3/4 with legs and arms. You bear with me while I just very quickly sketch out an idea that gives me an excuse to
3:12
If I'm going to isolate each one of the aspects and these tricky elements of legs being folded over one another beyond the sketchiness of this, how do we cooy think of it in isolation? Well, the pelvis should be considered First then the credential of the legs two points getting there. Straight line should be defined first directional very very calm and steady.
4:05
Now, for argument's sake, what I've done is I've started off with a very sort of sketchy, slightly curvy way to backtrack and you go back to a cooler approach to these, which I recommend that you do this before we do anything to bring an outline. But I had to get bigger sketched in just to take a look at what's going on to be a hidden. If you notice when these lines are formed, they form triangles. No matter how extreme they are,
4:40
these triangles are the key to understanding the correct perspective. When I'm doing this with my arms, I'm creating a variety of triangular shapes. No matter what perspective, it's always there. And same with the legs they form a triangle. So for short it can be understood in terms of squash and stretch triangle. Excuse me. And then once we've realized the accurate or shortening of a of a limb, it's then that we can do the wrapound cylindrical aspect to it.
5:34
like that to realize the through and through aspect. Now the most important thing to do then once we and remember the triangle is guiding us with this thing to do is to have the correct elliptical relationship. So this ellipse has a very very specific perspective to it compared to this one which has that specific quality to it. So don't generalize with ellipses but be very very specific with look at this ellipse for example this leg here and they'll out see
6:13
this for brother has gone a bit strange here but see that leg cross over there like that a shape
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So the perspective of this leg crossed over this one has an elliptical quality of that nature.
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This has only lift that nation. It's very easy when it's drawing cylinders to make cylinders all very similar to one another having the same perspective. It's crucial that these ellipses are at a right tilt when it comes to understanding these complex twisting forms together including the pelvis which is another ellipse right there and the way the pelvis is placed in the hips which is pis everything is an elliptical relationship
7:27
that goes for this part of the body too. Remember last week I discussed the shoulders being a triangle and then the body two straight lines here and a center line. And then from that point onwards never draw the arms without really rationalizing what's beyond them of course which is the chest here like this. And then start to draw the arms and get the direction. Let's say this is like a train track here. You bought your tickets here. You wanted to get there.
8:02
And and the way to do it is to make sure in just in straight lines that you arrive at the correct destination before doing something baro racco and then arriving over here because you started with the outside line and the contours and ended up in the wrong place. Consequently destroying the design of it. So this is a design issue. The way they look together, the way they tumble together, the way they interlock is a design issue. And the design issue is facilitated by the correct
8:32
perspective relationship also. So having done that or brief relationship study of the arms and look how I'm steaming them together and you noticed uh when I did the first lecture here about two weeks ago I said to u make things um asymmetrical in their placement. So instead of something more you know like this break it up and make it look interesting. So whenever you're posing a model down the line create things which are irregular sort of like
9:07
this but never this or this or something that looks like this. So you can see the difference between this triangle look how slight that is it forms a triangle and this one here that's like that. So try and get into this idea of studying triangles with different sense of perspective of make deliberate dot and there you can put the elliptical correctness on the top of like that.
10:00
and look at this one. This will be literally we'll be looking straight onto it. and everything disconnect. You can see that beyond this, it's important to get this down. Also, when arms are folded across the body, draw the body first. Don't draw the arms on top of nothing underneath. Really obstruct the RS.
10:52
What has perspective of this nature? Look at this. So that's made up of very tightly constructed ellipses to give it that kind of policy here. Yeah, right down here. It's amazing what the power of light can communicate regarding perspective. Much tighter. Take a look. Isolated big toe. Got lots of little toes there. That's the angle. Look at that perspective on a foot. Let's slide this through the back of
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the heel. Slightly leap on top as well. Very challenging. Again, the perspective is that this one's a little easier. Good way of drawing a foot is to draw it as a door wedge. then separate big toe out from it or other like that is a nice idea of solidity so that when the leg bones arrive they've got a platform to land on right there very fast and if I drew ellipses across the front of this give me this kind of flawless
12:59
back. This is an excellent introduction to being able to do figure invention. You don't need a model. You can work out all the twists and turns and perspectives just by working in this way and understanding these very subtle turns on these ellipses. And then you'll find beyond all these what I call semicro ellipses. The big picture of the ellipses which is this neck. Then finally the head. This is a great exercise as a means to an end. This is not meant to be a thing that one will
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look at afterwards and go, "Wow, look at all those spring coil perspectives. This is a way of getting sensitized to understanding the figure in it in its most complete and solid way. It's it sort of makes you intimate with absolutely everything because what people tend to do sometimes is not draw things through and they draw shapes together and not through. So, this prevents that happening.
14:23
But remember before all these volumes are realized and on the other seminars I've said that the volume comes in at stage three. The most important thing is to get these straight lines correctly placed and the points of departure and the points of arrival stated before any baroisms of line. The anatomical um beauty of the leg which I'll draw here as it's folding over the other leg is very appealing and has a beautiful tempting distracted line quality to it. asymmetry of the kneecap.
15:20
It's very alloring to look at lines like that that go make up the leg and when one sees it on his tent to want to get it straight away. I can't blame you. It's very beautiful.
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This is more important to get you there. I I want drawings to go in this direction. I'm not going to be here that long, but I hope you can take your drawings in a direction. If we could just do beautiful linear drawings where everything looks solid and very very convincing without any of this construction. But until that, I think it's good to construct. because you'll know it's been honestly arrived at.
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Going to do one more perspective uh forhortened pose and then I'm going to go on to pattern cutting in the human form which means introducing anatomy by means of pattern and not by muscle.
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And once again, I'm imposed the digger within the space that it wasn't centrally placed. By the way, before I rub off this leg, look at the asymmetry of it. Look at this. Look at this center top center aspect of the kneecap. People have a tendency to when they draw kneecaps putting them bang in the center of the leg. It it isn't there at all. It's either over to the right on the left leg. This is where I'm going to switch my brains a
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bit about this. Or it's on the left leg. It's over to the left and on the right leg it's over to the right. So the big thing to remember is counter angles. Sharp on one side here, smooth on the other side here like that. So different textural things happening of the femur bone metal rigid bone that sticks through and it creates a beautiful design. The front of the knee the ankles are asymmetrical. This one is like a little round ball
17:46
on the outside and this one is larger and more pointy on the inside. Things to remember that gives that beautiful subtle sense of brea. Consequently, if we're thinking more about what is in terms of design, our line work will be beautiful. If we think in terms of doing beautiful lines, we may be insincere to the subject. So lines should happen unconsciously. This is art center school design. So I think this is a fit subject to keep on impressing design.
20:35
said in your drawings you draw you don't do the construction you do in their heads and you just draw the uh lines that you need. Yes. But you visualize. Yes, I do. Yes. I'm always thinking of what uh aesthetically pleasing um dominantly and then I find a way of trying to get that across and usually it's anatomical and then compositional. Okay. So, um lag down a little bit there. um difference between these two perspectives.
21:19
Sometimes this chalk behaves better than a double time. You can see what I'm doing over that.
21:49
It's a very subtle issue but the difference between node ellipses and no ellipses have to be grasped because that flex the way this shoulder feels this side the shoulder triangle be up and neck cylinder
22:19
But it's triangles ultimately that we're looking at.
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So when you're looking at the model, check the shape of a triangle in perspective and for shortening with the shape on your page and make it exactly like of course this can use arms with a bigger over the top of the shoulders into the neck, tent the back of the head, so on and so on. And it's good to do all this with a hard pencil and then draw over it with soft pencils. So with legs bent and doing these kinds of things, it's good to see them like this to begin with, two triangles.
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Because if you see them as triangles, you can then get an idea of how short this line is compared to this line here. And that will tell you that at how far it's going back. This one is far more straightforward, but you can compare these two with that. And that's a good thing to work with. Then once you feel that this works right, you have your points of departure and your points have arrived and sorted out and it has to be exactly
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right before you go to the next stage in terms of the dynamic place. You can then go to the solid and this is where the magic starts to work where you can really develop a wonderful sense of spect. Yeah. Thank you.
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But line on that side shallow.
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Now outside of the rounds of working out or shortening here like this for the legs there are patterns to observe in the legs. Now I won't throw the leg top to bottom as I don't fall here. This one is take a look at this and see what the effect it does when we convert it to film.
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See what these shapes do when this leg is bent. Look at this large shape. I've put together a book recently which I think it's uh it's a good sum total of everything I've been studying and I'm going to be pulling it out soon. It's very intensive but it's working on simple language of muscle groupings. have an introduction to complex musculature. So that the first C muscle group is in terms of tumbling ellipses which give a sense of the design of
27:26
anatomy as opposed to the detail of which I think is preferable than having to deal with the morbid exactness of tendons and stuff like that which I could besiege you with but I don't think it's going to do you any favors. So um how does it affect this leg from the design point of view?
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This is larger. That's this. This is the vasis external rectus combined. Then as medulus says gastronius and tibulus antagus combined sharp So,
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So can you see how understanding this helps us to understand this then we incorporate ellipses into that. So we've got two things going on here. We've got the elliptical and the the flat design concept. And those two things that you should bring together is an efficient way of dealing both with form and anatomy as an introduction to a very complicated subject, anatomy itself. And another element
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recognizing certain points on the body that will give us I put the kneecap here a triangle. The design of the butt being a door wedge look.
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This then leads us to the conception just a beautiful realization fluid culture.
30:57
So, does that sequence make sense to you? Yes. To reiterate, direction, lines of action, same language I've been using all the way along the line. Straight lines. It's designed for shortly seen in terms of geometric triangular. Then awareness the pattern and design of muscle groupings not muscle fibers. So influence different view points on the leg in spectrum. Let's take a look at this leg now in relationship to this federation here.
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this. Yes. It off
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The way the kneecap arrives at the end of the leg, it's not like in a corner. It sits blunt what would be the corner here at that angle of that part. Glorious door wedge seems
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That's the design of the inspired plate based on this conception. You see this this this part of the gapmia. So this outer part here and this particular ellipse here sharpen the inner side. that ankle bone has drawn a circle but the triangle giving its full dynamic and um one thing I'd like you to take a look at is the difference between this side and an asymmetrical element and the inside try and really think about that because it's a beautiful contrast
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Okay. So, I'll do a linear concept how I feel about that. Yeah. Yes. It's just excuse me for one moment while I just finish this.
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the difference between the outside contour here subject to this design and look on the inside how it affects the inside of the leg. the difference between the two because the reason why I say what seems to be the obvious is people have a propensity to draw the leg equal on both sides. Uh and that's why I I in this manual that I'll be putting out please I'm going to be emphasizing the symmetrical compared with the asymmetrical. Now what is the symmetric ones? What are the
35:00
symmetrical balance? Does anyone know the whole body is symmetrical? But when you say the whole body not for me it's asymmetrical by a lot of ways the whole bodies but yeah I don't know if any individual you mean the rib cage carry on the pelvis I guess go on the head so it's the head the rib cage and the pelvis is symmetrical and it sounds like a really obvious thing to say and I've said this before but people and this is the strangest thing see this happen. They
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actually make the symmetrical parts of the body asymmetrical and the unsymmetrical symmetrical. It's the weirdest thing. And that's why I I'm kind of saying the obvious because by the way folks, the obvious is very rarely said and the most complex the most complex things are eulogized.
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Okay. So, I'm going to uh bend the back of the leg in relationship to the design of the back of the leg. If you can remember these shapes, you'll be going a long way to understanding potential more complex anatomy. Look at that line running through there. Because you're not going to be medical students if you're going to study anatomy. That's if you want to. You're going to be designers and artists. So you need to turn anatomy into a history of design.
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Oh, just for argument sake before I go any further, going to show you the origin of this tubular bike
37:51
Please don't try this at home. only less than one month.
38:15
This chalk is too thick. You get into all the necessary. This the leg with his complex weave of very very beautiful muscles. And I can name them all and I could speak them all out to you. But I don't think if I if I did this for the side, for the back, looking down, looking up with all the muscles drawn. Be honest, would you really appreciate it? Apart from saying, "Okay, she knows muscles." What I'm
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doing when I'm doing this, I'm communicating the essence of the design of the muscle group, which is far more valuable than prestiging you with this. We wouldn't have the time to talk with something like this. It's a beautiful design. The leg is uh a lesson in design once again about it. It's just unbelievable. I think this is preferable so we can get to understand this. So later on when we see this we can connect with it and go boy I can see those those irregularities now.
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And just be sure that that I'm assuming that you would go on who would prefer just put your hands up without have it simplified like this. Please have a vote. Who enjoys the complexity of my mind and would want to be besieged by it. You would. So you're out voted then. Um, okay. Let's take a look back.
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But in simplifying that helps to see the irregular later on I'm foc that that you'll go and look at the muscles then and see what it means to be an artist looking at muscles not someone who ends up just copying the muscles and still doesn't know anything about them because you can draw muscles and you can still have morbidly accurate looking drawings with no life life whatsoever in them. There's something else going on here with the artist and the model and that's a personality,
40:27
a sense of flare, a sense of poetry, whatever. Anything but just muscles. Muscles are kind of the manifestation of the life force. But what is the life force? How do we connect with it? And it's usually a design issue of some kind. So here's the back of the leg here. Once again, a rudimentary
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straight. That's the higher lips. Oh, what? One big circle.
41:33
I'm sure you would agree that the other monkey did follow. Watch the tunnel ellipses there. The tunneling ellipture 1 2 3 4 5 Gilber tells us the whole object of this elliptical exercise which will be explored even further in this book that I'm about to finish is to see the tumbling aspect forms and the a and appreciate the asymmetry that's caused by these ellipses tumbling down and never arriving like two balloons in the same space
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because when the leg bends like this, whoa, what do you do with it? How do you understand it? You can only understand it really by seeing it in these terms first and then watching the effects like saw here. Look on the outside of the leg, I drew a straight line, but on the inside I drew an ellipse. That's because the tendon of the bicepsorous, which is this area here, is very thin and very tenderness. Yet there are two heads of tendons
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reaching down into the bottom fibular and tibia down here. So I symbolize that as a as a a more narrow ellipse. Give a little bit of difference. They're just few straight lines when the leg bends and we have a forcehorting quality. This where
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First one here.
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That's f. This is just a straight line here. Is there once again
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That's something more radical.
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Still thinking of this. The ellipses are still there. Calf is higher on the outside than lower on the inside. That's a good thing to uh keep in mind. I do a high outer curve here. So bring it right into the end from there straight to the pelvis.
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the door wedged in from underneath. Just simple block wedge for the hips. Now lines of action here are down to that. And believe it or not, there's still here the very slight triangle. It's that narrow. I'll do it again. That's to close, but it helps to draw that first sometimes to get the correct. This is a very tricky, very subtle piece of shortening. Everything's very close and very tight.
47:28
Okay, we're going to take a look at the body in general as a pattern bing exercise now that I've introduced the legs and the break. Okay, so let's think about so um I introduced you to some patented in the leg. I'm going to draw the whole figure now with a pattern reductionist system. I always remember long center line is a center line gives us a feel for what's symmetrical and what is key to good light drawing is really expressing the symmetrical compared to the a but I just uh
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instruct pattern
48:47
You notice if I draw the lines of action first before I consider the uh tatting cage. Yeah, it
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These points that I'm making are very very important notation points because they're they are major connection points for the muscles where they converge and gather. And you can see that on the surface of the body when the model was found looking for another good point. Another one here.
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So you'll find that these uh shapes will tally with your other notes from previous couple of weeks.
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So, I've had people tell me that the pelvis area is the most difficult to study. It's so in a special in this area here. Have a good look at these shapes. bowl like shape called that pondosis. The anatomical term abdominal wall sitting on the TR in the groin area and ellipse here. These are the most efficient ways that I can think of in pattern cutting terms to understand all these complex transitions all the way down the body without getting bogged down with muscle fibers.
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Now, if you want to double check what's behind all this, it's our friend Skelly. Skelly the skeleton. Uh if you feel like you're losing your way whilst drawing these patterns because the lines of action have to be right, double check with this kind of shape. Imagine this shape underneath. Those lines of
57:14
two points here here fit just here like that. So you can see the relationship of the pelvis inside behind the pattern
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But the key to understanding all these patterns is that this part of the body here is symmetrical. and everything else beyond the body. So have a good look at those shapes and then compare them with tunnel shapes outside of that. See in the shoulders that ellipse is there, that one is there, this one is here, that one is there. And at no point are these ellipses alike or coinciding with one another. Look
59:30
You can take a dotted line down the center of the forms to give yourself a sense of the ace imagery of these forms. It could also be the symbol of the line of action. You see it in the skeleton.
1:00:10
So um what does knowing this better in terms of drawing contour or wants eye to body? See what it needs.
1:01:23
I recommend you try this exercise of drawing the figure with one line or lines of uh sketched into one another but more or less aiming for a contour effect that looks convincingly human without the use of shadows after you've explored contour pattern within. The reason why I say this is because I've seen people who can throw fancy shadows all over the place and still yet know nothing about human form. What they
1:02:09
know about is technique. What technique do you thought for when the model is not in front of them and they're asked to draw the figure? I can't do it.
1:02:25
So this is a test on your anatomical preparedness. Draw a figure contours, no shading, no crosshatching, just the essential design of the rhythms of the contours which are ultimately really the most beautiful aspects of figure. If you look at the Greek vases, the figures on them, they are deceptively simplistic, but they try and copy one of them. It's very difficult to get that kind of exquisite simplicity. So my contour lines have been informed by my asymmetrical considerations
1:03:15
within the leg. And this was informed by symmetrical considerations in the torso.
1:03:30
While I'm on this subject as looking at the front of the figure, I'm going to show you the origin of the shapes of shadows on the body and how to understand how when the light was cast on the form, and this is as far as I'm going to go regarding light and shape, how a shadow shape comes about on the body because I've been at schools where people are encouraged to shine a spotlight on the figure and copy the shapes of the shadows and yet they still don't know anything
1:04:00
about figure constructions because this is technique and the use correct use of the pencil. So I'm going to demonstrate a more informed way of thinking about light and shade.
1:04:17
Let's take this view point and turn it 3/4 and do a closeup shot of the body.
1:04:46
Now I'm very intimate with shadows and I worked on a film in England called Caravanio and then that guy was obsessed with shadow and I've learned about the deceptive nature of shadows. That's why I'm talking about it. All right. See this line here. chest, the rib cage, abdominal wall continued with the external oblique here. This contour the leg to find out the light and the light is shining at an angle
1:05:44
like this on a window which is always ideal. What the true nature of the shadow side and its shape is in theory without copying. You you use what I call the mirror contours. The change in perspective in the form based on the turn of the ribs occurs around this area here. It's like a block. We're considering we take this line here and we invert it back here. So I've just I mirrored this contour. Then you bring it into a lock
1:06:49
in jigsaw concept here in this side of the portion of the body. This line here I mirror it again. This line here I mirrored again that way I use the broad edge of the chalk. That's how I arrived at the nature of the shadow side of the body from there to that. You reverse the contour. The same can't be said for the arms because why can't the same be said for the arms by the way? Does anyone know? Asymmetrical. So, we have to think a little bit harder about that.
1:07:43
But with symmetrical form with humanity that's that will have to be a successful consideration. Then you can lead into the light like this. Whatever medium you use. That's uh consideration for you to take down the line when you're dealing with a a model which is quite heavily lit.
1:08:14
But once again, don't be deceived by theatrical lighting on things. It won't guarantee any information. In fact, form is lost in light and shade, not game. When you deal with a lit model, whatever, try and make the lighting as bright as possible. So, you're dealing with contour. Effectively, you're dealing with silhouette, which is the strongest principle for understanding composition. silhouette. Light and shade diminishes silhouette. Light and shade does
1:08:47
not guarantee a strong sense of design. Light and shade is only useful when one is illustrating a pulp novel or a detective story or the life story in Caravagio. But know where it's appropriate and don't just do heavy light shade on every darn thing. There's a group of comic strip artists out there uh under the publishers of Image Comics and they draw people bearing their teeth on every
1:09:18
every occasion. You can imagine them having a cup of coffee in the morning and they're going to the dentist. Well, they're going to be a pro. Um I was going to the doctors. I got a prop. Constantly showing their teeth. Somehow they're being paid by the dentures in these pages. This is someone who's got an angle on what the business the latest publishers want. It's angry veins on neck. Learn how to draw a million veins on the neck. I'm sorry. This is adolescent. If you want to be a
1:09:58
really serious designer, forget that because that when that goes out, you're going to just be looked like an idiot and nobody wants to know. Oh, he's part of that veins on the neck movement. Oh god, didn't that mean everybody's in denial afterwards? I've seen it happen. So, that's the another thing. So, not following trends too seriously. Okay, if you have to make some freelance work every now and again, do it. But, but have higher values that you stand by because
1:10:24
principles are more important than techniques. principles are most important dentures. Okay. Uh I'm going to take a look at the hand now and deal with it in terms of a pattern go. And typically I'm going to start with the uh the bone first and then back track.
1:12:29
And the key bone to remember this one here because this presents the hand in the light of asymmetry. This is the biggest uh This has the biggest knuckle. So we'll see what that means as I demonstrate some different. So just draw that center line running down that particular thing. That's a sensor line you'll always draw when you draw the hand. You'll you'll see what the value of that is. Now part of the hand there is a group of stroke is better than
1:13:13
others. Muscle works like that and works like that really one is more like leaf shape that circle here and there is more like a balloon shape.
1:13:37
And these are the plasma muscles. Okay. So, I'm going to do a quick back view now.
1:14:10
Notice there's only three bones in the thumb. There are four bones in the pigus and they're placement is rather like that in the palm of the hand. See that? This one, the bigger one rises. This one here from the back. Big knuckle. Big knuckle. Smaller knuckle next to it like that. Dropping down. That's dropping down inside. Built on this bridge of bones here. They're built like a little Thomas PK bridge.
1:14:56
Everybody love. So
1:15:28
Yes, there are those who are copying Thomas being made out there and after the trend is over there will be deniers copies of task. Yes, there are many copists being paid out there right now and after the fad is over. I say I know I did I wasn't being okay. And at the back of the hand is another must here. This one sometimes pops from behind like that. See, that's simple as I can make it. So, you've got these two significant significant I say
1:16:27
arrangements of muscle in the palm of the hand. That one, that one, and that one. And I've really very much simplified it in terms of the pattern. But the thing to keep an eye is this line here when you draw the hand regular and you can see how asymmetrical the hand is
1:17:09
And you notice how the fingers all have this need to go in this stage magnetic north towards this fella here. So hands have this our fingers have this propensity towards curving in towards that finger. So especially when the hand is relaxed, it will have a tendency to move towards that finger next to the index finger, the one with the bar just now I'm going to simplify this so that we can see it in sculptural terms.
1:18:18
Take the rectangle with a triangle attached to triangle being here, tapered rectangle being there, and then just do this magnetic north to that figure there. Three. I've got rid of the palm bones separated out. So, you've got lot four diminishing lines that more or less do that and two more which more or less do that to the thumb.
1:18:50
Same goes for the back. This is a great mass for just knocking in the general shape of the ham. But there that magnetic laws staying there, fingers reaching towards it. 3 2 So this shape is giving us this shape here. This shape, you can see it back giving us that shape there. This is an ideal geometric design for the palm of the hand. You'll see what I mean when we do this.
1:19:45
I'm going to demonstrate for the moment
1:20:31
This isn't just a fixed block that I've drawn, but it it's it's actually it's bendy. It curves like this. I'm doing this at the moment.
1:21:00
And then when I add cylinders and wrap them around these separated out strands.
1:21:34
These lines are just a directional flow first and
1:21:42
micro cylinders around the do things like this. That's
1:22:20
There's block shad inside there. But from this I'm getting more organic. You notice from the straits more organic there. Um here
1:23:30
That's the difference between those two shapes there and part of the hand.
1:24:40
That's the triangle at the side here.
1:24:58
And then the other side of the hand. This side here. This block side tapered little pinky having pinky.
1:25:32
That's the block. That's the triangle popping out the side there. Lines of action. Draw the lines of action of the fingers first and then apply those cylinders around them.
1:26:03
triangle block finger thumb bit of the compression one. Now that piece of muscle that was on the about the the back of the hand there really shows and connects to this finger here that knuckle the big one really
1:26:49
Right. That that's really swell position. That is situated here.
1:27:14
Okay. So, we're going to start doing some drawing now and we're going to deal with four shortening issues and designs which will be involved in these poor shortening issues. All the pattern cutting exercises that I done here
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