 How are you all doing? Okay, let us Turn the camera around Turn the camera around I said What we're going to be Going to be doing today is a little bit different. We are simply going to be drawing from this book with a pencil even so, so it's going to be Not about drawing ink monsters, but about the fundamentals of drawing Of drawing what you'd call constructive drawing So it says here. This is the story of the blocked human form Where the bending twisting and turning of the volume of volume gives the sensation of movement held together By rhythm its purpose is to awaken the sense of research and analysis of the structure hidden beneath It is hoped that the idea That that the ideas conveyed in the drawing and text of this book may enable the reader to carry on To independent and better ideas. Hi, leafy let's just start warming up by Copying those and the reason why Hey, muna the reason why I'll be Doing some lives copying this Is simply to get my mind thinking about This book again and about anatomy constructive anatomy again and uh Hopefully improving my art And i'm thinking about doing a lot of different sessions some from this book some from other books some from no book at all just about sketching and about practice because most of what I do online is Well, it is a sort of a practice, but it is it is um all It's all focused on Making a finished product Yeah, so a very important Thing to notice or to know about bridgeman's Book is that first of all it's a great book second of all you can't really trust it because It is not an art book or art theory book written by an author In order to You know make a cohesive Guide to drawing Bridgeman was an art teacher at the new york at A couple of different new york schools, so we had like hundreds of people in his classes and uh He Quite frankly didn't have time to do An art book So when it was suggested that he do one what they did is that they collected Notes from his classes and sketches from his classes and Cut and paste those together in order to make something that sort of is like an art practice book That means a lot of the text doesn't really fit with perfectly with what you're drawing and some of the drawings are more wonky than the others and Some of it is Very Loose most of the drawings are I mean some of them are student drawings, but most of them are Bridgeman's drawings or copies of bridgeman's drawings and the way he drew them was There was a huge sheet of paper on the board Down from the ceiling And He was a short tiny little man and he Drew on this board in the ceiling with a very long stick with a pencil on top So it's a very weird way to draw and it doesn't really Make for great Results, but still The fundamentals you get in this book is probably some of the best Best anatomy practice you can have it's just that It's just that you have to Encode it you you have to decipher it. It is like a puzzle um So so even if you haven't heard about this book You have Noted you have noticed Or you've probably looked at artists who and art books that are influenced by them for instance Andrew Loomis who whose art books haven't a huge influence on Online and on video game On video game concept art designers he was a student of Bridgeman and I believe he studied quite a long time under bridgeman um And then you have Let's uh start reading this soon as well Uh, then you have I think Hal Foster was In his classes john basheema who drew conan was in his classes will eisner Who also did books about drawing comics? Was in his classes. Um, I think frank facetta was in his classes. Are you Do All of these huge figures for both art Teaching and art for more commercial Uh art itself were in his classes. So, you know, it is very even though it is a Strange book it is very influential But this time and one of the reasons why I'm going to be doing this live is because then I actually get to go through the text and try to Explain it and understand it and think about the forms and the figures A little bit more deeply than I would when I do it on my own because I've been through this book a couple of times But I will also, you know, sometimes probably focus on other books and learning other things I just thought it would be good to start with this How to draw the figure Before you make a line You must have a clear conception of what you want to draw In your mind, it is necessary to have an idea of what The figure to be drawn is doing Study the the model from different angles Sense the nature and condition of the action or inaction This conception is the real beginning of your drawing And here he There are some boxes here Give you consideration to the placement of your drawing on the paper for balance and arrangement Make two marks to indicate the length of the drawing and this is one of the things that I suck at Planning the length of the drawing Block in with straight lines the outlines of the head Turn it carefully on the neck Marking its center by drawing a line from the Adam's apple to the pit Between the collar bones and this will continue In the next section. So so we'll we'll just start Doing this okay I will first will This will be our paper Maybe we could Now it will not go full paper here. Okay So first we will mark out Where we won't want our figure. So we want our figure a little bit To the right hand side And not too far to top Okay So block in with straight lines the angles of the head that Sort of like this You know, and these are really tough Sketches to follow But we're doing it quick From the pit of the neck make One line giving the direction of the shoulders keeping in mind the marking of its center That is the center This is the shoulder line and this is The reason why I am going through this Bit for bit now Is because otherwise I would be just Just Skipping parts of it Indicate the general direction of the body by outlining the hip And the thigh And this is kind of interesting because I would Naturally go Making a spine But this is based on watching a model And It is a lot easier to know when you're building and constructing anatomy It's easier to go from the spine and out, but when you're actually looking at a model Going with the outlines Is preferable so Something like this Doing some animal crossing before My walk I haven't played animal crossing since I guess since the pandemic okay, so Follow this by outlining the opposite in active side of the body comparing the width With the head so comparing the width with the head And we have to go look at this drawing again And here, you know, this is drawn from life. I would guess or from a maybe from a sculpture and Then crossing again to the action side and this is one of the important elements of how Bridgeman does it it always has one side With the action where it's crooked and the other that's bending Turnip turnip day excellent Watching this while eating then painting. I have a handmade holiday present I still need to finish. I probably need to finish some of those. Yeah, okay, so and now Doing the opposite hip Just a little slight bit And the opposite leg What does it say? Then crossing again to the action side of the figure drop a line to the foot You have determined the balance or equilibrium of the figure carry the line Of the inert side to over the knee Over and upward to the middle of the figure. So he does it from this side probably not the most essential part of It on the Other side drop a line to the other foot and that is Like this And this is still a bit wonky But we'll we'll we'll be getting there, but you see in all of his stuff it is the one side is Smooth and bent and the other is jagged This isn't Necessarily Something you find in nature, but you do find examples of it um For instance when a person is running seen in profile view you will find a smooth side and a jagged side but This is in order to create a dynamic sketch a dynamic um Pose a movement in the character a character in movement rather Okay, so Let's go to the text again Your good teachers your voice is easy to follow. Thank you. And just interrupt if you have any questions And i'll try to answer them It's been a long time since i've done art teaching And i've never done anatomy teaching Uh, and you know i'm still trying to figure things out These few simple lines plays the figure they give its general proportions Indicating its active and inactive sides its balance unity and rhythm rhythm Beep up just finished his their first large scale charcoal drawing congratulations And i think just because um I want to get this Live to flow I will be ignoring questions and comments That doesn't have to do with art as well as I can And I'll try to be focusing on the On the assignments and the text, okay Bear in mind that the head chest and pelvis are the three large masses of the body They are in themselves Moveable think of them as blocks having four sides And as such they may be symmetrically placed and balanced one directly above the Other in this case the figure would have no movement But when these masses bend backwards forwards turn our twist the shifting of them gives action to the figure Whatever positions these three masses may assume No matter how violently they may be drawn together on one side There is a corresponding gentleness of line on the opposing inert side and a subtle elusive Living harmony flowing through the hole, which is the rhythm of the figure and There are a few questions here The first is um, do you have any tips on keeping faces proportions? Yes And it's actually What this part of the book is About or what the whole book is about The Way to draw proportions on the head is not just to draw the head because then it looks like this But to imagine it in simpler forms So This head is a box first and By knowing that it's a box. We know that the eye is In the middle of the box nose is in the center of the box And Then we can start chipping away at the box and we will get a Face in proportion in that box. So When we're drawing this simple box here That is the first step towards drawing a face in proportion And in the text one of the Difficult things to understand is what when he said that The boxes of the head and the torso and the hips are immovable And don't indicate motion By themselves And this is simply if I draw a head like this It's one box and then I draw The torso like this another box And then the hips like this another box And then I do Legs and arms There is no motion, right? It is perfectly still But if I twist the head to one side The torso to the other side and the hips to The last side that even if I draw the legs Straight down there is motion Okay, so that's what it is talking about. These are the immovable Masses of the body And the rest is just, you know, the string in between Andrew says I was drawing for two years and I still can't draw people. I really want to quit But I'm not sure so the most important question I Ask people who who say similar things is What do you mean by drawing? For two years How many times a day did you draw? How many hours a day did you draw? Now if you were going to be a doctor And you Studied medicine for I mean half an hour to two hours Three times a week Would you expect To become a doctor in two years? You wouldn't but people expect that drawing a little bit A few times after school after work Is going to get them the improvement they need and want Like one or two pages every day for about an hour an hour a day is good. That is very good But it is still far from The like the a Let's say a doctor Does eight hours a day of studies for five years And then goes out in practice. So there's still a lot of room to improve You can get really good at drawing by drawing one hour a day and doing it consistently But it will take more time and saying that oh, I've drawn for two years And I still can't draw people Well, maybe you need to Maybe you need to study more about how to draw people like for instance With this book or other similar books. Maybe you need to do life drawing classes Maybe you need to do a course or maybe You need to do all those things And also draw for Let's say draw for four hours a day and study drawing for another four hours a day So drawing is one part of it studying is another part of it So if you draw for if you draw for eight hours a day, you will be very Exhausted in your head But if you draw for like four hours and study for four hours, then you're close to a level Where you should be improving pretty quickly it will still take years, but you should take You should see improvements pretty quickly May I offer something controversial try tracing tracing is a skill that needs to be practiced, but it is not Um It's not a great skill for Improving your overall art Let us Go back to the text here. Okay Starting again with the head And thinking of it as a cube with front sides on top and back Draw it on a level with The eye for shortened or in perspective. Okay Outline the neck and from the pit of the neck you draw a line Down to the center of the chest So we'll do those Who steps and one of the interesting thing here? Is if you see these drawings Each of them is a unique drawing It's not the first step of a drawing the second step of the drawing He's drawn it again and again and again for each of these illustrations Which is probably a by effect of how This book was put together okay, so we'll Try to figure out what it was talking about there because you can't really see it here Like this i'm thinking Is what he was saying and i see that he's also Done a bit more on the line here and then a line Down the chest You see my type of line work is very different from his Thank you for saying that lesson um At the right angle To this line where the stomach and chest joints draw another line Then draw lines to indicate the rib cage As a block Okay, so what i see The i've been doing that i would probably not correct if it weren't for you guys Watching is that i've been doing this Completely the wrong opposite way from bridgements drawing Because i've been drawing it like this side is towards the camera and this side is away from the camera But in the actuality it is this side away from the camera and Or from the viewer and this side To it And therefore the line In the middle of the chest goes here Then you have Small lines here Now draw the thigh and the leg which support the greatest part of the weight of the body Making The thigh round the knee square The cuff of the leg triangular and the ankle square Then draw arms So this is another example of how How how ramshackle the writing of this book is So it is round Thigh and square Here knee and a triangular but Triangular but Still Soft Leg and then Square in here Thank you. I will try to be streaming more even though i'm on the social media break Streaming is something i want to do more of and this type of streaming Particularly Will fit into my plan for Both for this period now And for the next year Okay So here we're drawing And now i will actually go back to Yeah, because the next part Goes over to I don't know why my i didn't turn off my Sound on my phone now i Instead of looking at these small thumbnail sketches i will be Looking at the Final drawing because that one is easier to Actually see the details, but i'll still be thinking about the types of the the types of Dynamic The dynamics that uh bridgeman is talking about here that is This side is The action side here the thing in this is Look at that. Look at how much He breaks that arm And it still looks Perfectly natural I'm a beginner artist and i haven't drawn anything for two months because of my studies How much time per week should i dedicate to art practice? And what should i focus on more? I can't tell you what you should Be focusing on more Um Because i don't know where you are in your art journey But I i already answered another one about this, but you know if you Want to get good at art you need to Treat it Like a vocational study Like it is a study of medicine of or of engineering or of Architecture or of any other thing you'd go to school for So if you want to get really good that then You know eight hours five days a week Of studying and drawing For five years Should do it For most people if they also, you know do a lot of homework But if you're if you just have the time to do one hour a day after school Then then you will become good. It just will take a lot more time Okay, so let's I don't want to spend all my time on this fella And I just want to this is the first Time in a week almost I've picked up a Anything to draw with I think and that is very curious for me It is I usually Draw Like all the time so so But i'm trying to to Have a break and to reevaluate a lot of my Art and my goals and everything like that and going back and stopping to Study the fundamental fundamentals again is something artists should Do and that that both means Like this drawing through a book that I've drawn through many times in my life But I still have a lot to learn from And it means Gaining new information new books new courses new Everything and I think you know This is a good enough warm-up for this part So we will be going to the next chapter Um Hello, love your art. I've been studying art for a little while now. I really want to get into a prestigious Art school in my area. How do you have fun with art? When it becomes hard and humiliating that's a very good question and and The sad thing Is that the the the answer is probably That if you want to have art As a career if you want to do it professionally If you want to go through art school Which I haven't done but but I've done tiny bit but All of those things it will become boring and humiliating at times But you have to get through The boring and humiliating stuff And do it as well as you can do And even you might even have some glimmers of fun in there and then The end result is that you will be able to find new levels of fun after that So you you are drawing in order You you're having A Awful and embarrassing time in order to have fun in the future Have new types of deeper fun I think that's something you have to accept you you shouldn't accept that it should be just boring and just awful and just humiliating But it will be Boring and humiliating in parts. I think That's it building the figure From a piece of a piece of lath and a few inches of copper or other flexible wire A working model of solid Portions of the body can maybe construct it. So it's talking about just constructing a very simple Piece of some I guess clay or something and we will not be doing that We will just be imagining it because I don't have the Actually, maybe maybe I will save this chapter For the next time and I will just Do I will just end this stream now. So it was a short stream and then the next time Will be a little bit longer stream. I will have read through the next chapter and I will prepare a little bit more So that it will be better for me and better for you watching because I didn't quite know what to expect When I got the idea of just drawing from bridgeman while talking and chatting with you guys And I thought it might just fail. It might just Not work at all And there are some things that don't quite work. I mean I need the To figure out how to place the book and the camera and probably need to use this large drawing book for another project and then keep Small piece of paper so that I you can see both the book and And what I'm drawing without me having to move camera around. So this is sort of a test of Can I do these types of art practice streams? And I think that the at least on my end, I hope that you I agree is This has been a resounding success. I felt very good Drawing it. I felt very good having to explain Bridgeman's words in a way that I wouldn't And explain his exercises in a way that I wouldn't if I just was doing it to myself and through that Explanation also, you know, getting a better understanding of it myself. So thank you so much Let's see if there are some final questions We'll go back to This one here By everyone, yeah By the way your advice Uh On depression really helped me and I'm exercising more and eating healthier making slow incremental changes Congratulation days. It will go up. It will go down Sometimes at least for me it feels hopeless and like nothing is working, but you know understanding the basics Makes it better kind of like with art And gesture drawing Are a good way to extend your visual gallery quickly without having to get worried about every single detail All you need is a timer and a bunch of different references another way of doing gesture drawing is To go to a train station or a cafe or any other public square where people are waiting And then find a secluded spot and whenever You see someone standing still You quickly Try to get their pulse In The few lines that you can That is a very good way and drawing in Both As a professional and in a learning period You get ugly drawings all the time ugly is a part of the process It will not be even the best painting Or drawing will not be Pretty from beginning to end and you need to train yourself To see beyond the ugly How did you get motivated yourself to draw a lot every day? Uh, I don't know if you're getting this question a lot, but I wonder how you did that So I've always been motivated to draw a lot every day Since I was one year old, I've always drawn a lot But at a certain period of my life In my teens and early 20s. I Was so convinced of my talent and my genius so to speak that I Focused on a lot of other things than drawing On parting on depressions On goofing around on playing video games and doing all that stuff, which You do you But then I Around the age of 27 I started noticing That people Who in my arrogance I had deemed as inferior or hopeless artist who would never learn And who didn't have the talent like me Were quickly getting better than me because they were Practicing a lot And I was not And that pissed me off And and That's when I Started Taking art from something which I thought I could just be naturally good at Although I had practiced a lot. I had taken practice very seriously in periods But then I took it to a new level and you know I think since This is like 16 years ago and and in those 16 years I think the most days I've gone without drawing Are my summer vacation and this Little social media break That I've had this year. Otherwise, I've been drawing As good as every day since then and some days days a lot some days not so much so but you know My motivation was pettiness and jealousy and bitterness and rage, but that's not necessarily a good Motivation isn't it's not necessarily a healthy thing And it is something that I've had to start dealing with now But but that was my motivation. So yeah And One of the reasons why I'm doing This now Is I don't really have all that much motivation these days. I'm Really exhausted, but I don't need motivation to Practice I just need to do the exercises Okay, uh with that I think we are done Thank you all for watching I will be back One of these days With another live like this probably drawing more from bridgeman Because this was really great. Thank you. I hope you enjoyed it and I hope that Uh, we can do more of these art practice streams Bye. Bye