 okay are we live let me see here yes we are live and can you hear me who why is it that dark that's not correct do like this now you can probably see better hey are you hearing me okay you inspire me to keep on drawing excellent thank you so much thank you so much yes now it looks good hey how is everyone hey leafy hey everyone now the thing we are going to do today is to be following this book which is one of the books that I learned how to draw with chapter by chapter until we've done the whole book today is probably going to be a shorter stream again because there's a lot of things happening and once I get everything set up with my gear and with my setup and with the streams then you know it will be easier to do these streams and actually use a couple of hours or more to go through many chapters but today I still have other things I have to do when this live is done so it'll be a quick chapter but on the other hand it will be fun just popping by to tell you you're great and your videos are super enjoyable thank you so much thank you to all of you and remember that I release all my art for free use if you think that's cool you can download it you can sell it you can change it you can do whatever you want as long as you use my name and if you think that's cool then please consider I will be doing like this to get myself a little bit more in the frame okay so like oh ah the other way it is ah okay I see like this ah yes now I'm in the frame okay so what I was saying was if you think that's cool then please consider supporting if you can become a youtube member for five dollars a month or 10 or 25 depending on the perks you want the most perks will be on the five dollar level when I get everything going or become a patreon again the most perks will be on the five dollar level when I get that going or buy things from my store then ungehadholm.com now let's dig in to bridgeman hey kermito nice to see you so we did the first chapter last time and now we're going to get to the chapter called building the figure which is a fun chapter because we're actually going to build and the text says from a piece of lath and a few inches of copper or other flexible wire working a model a working model of solid of solid portions of the bodies sorry I'm reading very bad today but I will get into the groove a working model of the solid portions of the body may be constructed cut three pieces from the lath I don't know what lath is to represent the three solid masses of the body the head the chest the hips approximately the proportions of these three blocks reduced from the skeleton should be head one inch by uh five eighths of an inch I don't know what an inch is um torso one and a half inch by one and a fourth inch and hips one inch by one and a fourth inch so we'll do we'll take it by we'll we'll just wing it drive to parallel okay I don't really need to to read all of this because I've done it before so I know what the point is and now we're going to bring forth some clay it's okay I'm not much of a sculptor but I hope my sculpting ability is good enough to build what I need today nope we're going to do uh the different pieces the chest piece I think that seems like a good chest that's a good chest for now and then a smaller head piece uh we can look this and then the hip piece more or less now these aren't quite correct yet but we'll get there we'll get there uh and this is just like do and dry modeling material so it's a modeling material that dries and hardens without going in the oven so it's very easy to use and we're just we're not going to do anything fancy and the reason you don't need clay today but but but the reason we're going to do this so simply and do these as blocks instead of trying to model something more lifelike I could say these two look good now I guess because we want the hard edges okay now we need yeah this one as well so this is going to be like something like that and they don't need to be a hundred percent correct it just needs to be four sides no six sides on all of them like a dice so we're going to pack this down again and you know always pack the clay in plastic so that you can use it later and then I have this piece which is a little bit harder than ideal but we'll manage to work with this somehow let's uh I'll impress you more by hitting my head let's bring forth our anvil so everyone has everyone has a little anvil on their drawing table right you gotta have the anvil the anvil is useful for so many things like um okay this is the first time I've used the anvil but it was in the attic when we got the house so I knew it would be useful someday yeah crayola you don't need clay you can use anything that you can fashion into very basic blocks it doesn't need to be complicated at all I don't know if we will manage to make this um easy to stand upright an anvil next to my bed again extremely useful okay try to get this now we're doing the spine so we're fastening the spine on this side and we can use a little bit of tape in order to fasten it at the right place now I hear there's someone approaching is there I'm streaming yes but uh don't show your face and it's filming against the uh the trap I almost said but the staircase in English so there is a mask up there you're not in the picture okay uh and then we're fastening the next part like uh no no we want to be here close to the back because this is the spine and then again we're going to just fasten it again with some tape and you can you can use styrofoam you can use uh uh children's plasticine you can use erasers you can use anything as long as you can cut it into these three boxes because are you going again a little visitor on our live and then we're going to fasten we're going to do the tape first on the head because that's on the top so it's but we need to do it a little bit the neck isn't quite as way we're doing it the wrong way but we can just twist it around here it doesn't really matter because the neck isn't a part of this okay so this will be more usable once it dries but this is our very basic drawing figure and the thing that makes this one better than most drawing figures is that when when you buy a little model drawing figure it is usually fashioned a lot like a human but what we're going to use this for is simply seeing how the shadow hits different parts of the figure and that's a lot easier to see when let's just take this when the oh sorry i need to oh he fell over zoom a little bit out so you can see more easily and we're going to use this light here we're going to try to draw him some different ways can he oh I didn't make a very balanced thing of a bub if we say this is the front of the head then we have basically the lighting for the whole body and then you can start and this would be easier if I found the copper wire that I had pre-prepared for this live but I lost it so I'm sorry this is going to be not quite as smooth as it could have been let's put him here for now oh ah he's always falling fell on top of my computer what he fell and took away youtube he doesn't like youtube okay tape it to the table yes I could do that um so he's standing okay but he needs to be standing in camera now he's standing in camera lovely and then we will continue to see what bridgeman says and I would recommend that you make one of these but you must use a bendier wire than what I used hey beep up and here you can see the examples of how it's used okay so instead of thinking about how every part of the body moves you just think about those three boxes and that decides the rest of the drawing the rest of the text here is just uh describing this um how to make this and what the function is so so I'm going to skip over no I I'll read it because I'll read it because maybe there's something I missed here and one of the reasons why I'm doing this as a regular live is that when I revisit a book like this and even when I read a new book it's so easy to just skip over parts and just miss important stuff and I've read this book and drawn this book many times but I've probably missed some things so let's just not be stupid and let's just read it all but drive two holes perpendicularly through the center of the thickness of each of the blocks as closely together as practicable um with shock absorbing cartilages between them so so something to absorb the shock like I put in here wire the blocks together by running a strand of flexible wire through each of the holes my wire wasn't flexible enough but I will substitute it with the copper wire once I find it allowing about half an inch between each of the blocks and twist the wires together so this is basically this is the uh uh length of the stomach length of the stomach and the length of neck and that's so that is compared to how you measure it for your one this is the falling falling figure live the wire in a rough way represents the spine or the backbone the spine is composed of a chain of firm flexible joints or discs of bone with shock absorbing cartilages between them that's what I'm missing in the my back so so on three of the spine so so that's why I hurt my back all the time there are 24 bones in the spine each bending a little to give the flexibility of the body but turning and twisting mostly in the free space between the head and the chest and between the chest and the hips the spine is the bond of union between the different parts of the body so in this simplification we do not need to worry about how the hip bends or how the chest bends it does bend a little but it bends so much less than anything else so you can for this purpose we can ignore it for this basic figure and as I said personally I don't personally I think this figure is a lot more useful than the more human-like figures that you can buy in art stores and toy stores for art purposes the portion of this wire between the head and the chest chest blocks represents the neck on the neck on the neck the head has to power to bend backward and forward upward and downward to turn the head rests upon the uppermost vertebra of the spine to which it is united by a hinged joint upon this joint it moves backwards and forwards as far as the muscles and ligaments permit the bone beneath this hinged joint has a projection or point resembling a tooth this enters a socket or hole in the bone above and forms a pivot or axle upon which the upper bone and the head which it supports turns so one of the things that that is a little bit one of the reasons why it is easy to skip the text in this book is that not all of the text makes sense in a teaching art capacity you don't really need to know exactly the mechanism of how the head is connected to the spine you can you can say it's like a sort of a ball socket or something like that and that would probably do but the text of this book is not written just by bridgeman it is a collection of notes and small text by bridgeman and students put together into this book like the whole book which is a shame because it could have been a much better book if it was written from the start as the book but it is also still my favorite anatomy book because of the way it teaches art is in my opinion more useful and fundamental i just bought the book and i find the directions quite vague draw the thigh yeah you have to ignore the directions the important part is to draw and draw and draw and draw there are useful parts in the directions but in themselves they are not good enough okay it's kind of like it's not quite as bad as how to draw comics the Marvel way where Stan Lee's text only acts to confuse Bushima's brilliant book but the reason why this book is and i said this before the reason why this book is more fundamental for me than for instance how to draw comics the marvel way or the very popular god damn it Andrew Loomis books and a ton of other books is that all of them studied with bridgeman first and while Loomis is useful particularly for advertising illustrations in the fifties and still useful for art today and uh Bushima's uh how to draw comics the Marvel way is useful for comics and for kids this one is sort of it goes deeper but it's hard to figure it out because you can't quite trust the text or the images you just have to find your way through it okay okay so when we nod we use the hinge joint and when we turn our heads we use the pivot or axle the wire between the two lower blocks represent that portion of the spine which connects the cage or chest above with the basin or pelvis below this portion of the spine is called the lumber region it rests upon the pelvis or basin into which it is mortist mortist mortised it its form is a semicircular concave from the front on this portion of the spine the lumber on this portion of the spine the lumber depends on the rotary movement between the hips and the torso as the spine passes upwards becoming part of the cage or chest the ribs are joined into it so basically just um Hawthorne on painting has to be one of the worst books in my opinion it's a collection of quotes about painting by his students but without the paintings to look at i haven't seen that book i i think i've heard the name but this is more useful but it's still it is it's not that i need to be careful and not just brush aside the text here because i'm reading it for a reason it is all of it is valuable both the art and the text but the way it is presented and put together isn't in a cohesive unit as a book to teach you step by step some parts are step by step some in detail some without detail it is um not like for instance Loomis's book which goes in much more detail on what you should and shouldn't do but my feeling again i've said this the last time is that many who start by studying Loomis end up having a much stiffer style of drawing and this lends itself to a looser and more dynamic way of drawing i think the masses of the head chest and pelvis represented by the three blocks are in themselves unmoving that's the important part think of these blocks in their relation to each other and forget at first any connection any connecting portions other than the slender wire of the spine in this little tin soldier at attention we have an example of the symmetrical balance of these blocks one directly over the other but this balance never exists when the body is in action seldom indeed when it is in repose so this kind of standing to attention like a tin soldier is not a typical way that humans stand or move we're always in motion and again that's one of the one of the good things about this simple model is that the way this simplifies the motion is extremely much more intuitive to understand than a more complex figure Loomis's art itself wasn't all that stiff it was stiffer than bridgements but but uh yes uh but with any style any way you learn to draw you can move towards stiffer or looser and any method that you put down in a book is at most a temporary snapshot of how well you manage to explain something not for yourself but for a potential reader so none of these books are made to be followed 100 percent because and they weren't followed 100 percent by their authors either but it is an approach and then you take that and you learn it and when you learn it learn it well enough then you can move in looser or the stiffer direction I think bridgeman is probably more difficult but you get much better rhythm and fluidity with the drawing I agree the blocks in their relation to each other are limited to the three possible planes of movement they may bend forward and backward in the sagittal plane twist in the horizontal plane or tilt in the transverse plane as a rule all three movements are present and they may be closely approximated by turning and twisting the three blocks on the little model of la lathe and wire the limitation to the movement of the spine limits the movement of the three masses or blocks such movement as the spine allows also the muscles allow okay well that is that chapter and now since I chose to take a wire we won't be able to use this much today but we will be drawing the oh we will be drawing from the book so we'll and I'll illustrate how you can use it and then I'll fix this guy for the next time so that we can all enjoy him then we have a couple of different pencils with me today this is a 3B which I've sharpened like this and that is so that you can hold it further from the tip which is more an artist style of holding a pencil and this is more the comic book style but I will be using the comic book style because this is easier for very loose lights especially when it's as hard as a 3B is this where he where the live chat he's reading from is or somewhere else this is where I'm occasionally reading the live chat now let's try to see how these three blocks and again I apologize for the wire so I can't really bend him but let us start by for instance this shape this position so this position is the first box like thus okay and then the second box is kind of similar and then the last box very different now if we start tying the spine together then the spine goes up in the back of the head so you see these are actually very different because this is the front of the chest and this is the front of the head and then the spine has to go like this like this and all the way down here okay so and if we remember from last session you get one action side I should probably have done this a little bit more like this you get one action side or a jagged side and one in action side so here is the in action side of the chest while here is the action because here the butt and the back squeezes together okay and then when this side is the action side then this is probably an in action side and the same here since this is the action side then we will probably want to create some action on the thigh very excited I have Andrew Loomis drawing book about anatomy but was considering getting this book too I prefer this one it is more difficult it is not written in a way that makes all that much sense but it is a lot better in my opinion so the now we can't bend the spine too much but we can we can sort of try to emulate it now this looks from my angle this looks close enough we see that this is the part in shadow and of course this is the part in shadow and then these are the parts shadow and this also has a little bit of shadow and shadow and we can use that basic shadow pattern to guess at the other shadow patterns and then we can also you know just plain decide what are the arms doing he's twisting like this twisting so he or she Loomis is really stiff except his book fun with a pencil that one is enjoyable I haven't read that one so out from this figure we can basically draw what we want let's skip this one and do one of the other poses this one just look at the cleanness and elegance of these drawings the looseness they're not clean they're loose I love this drawing so simple so perfect let's try to copy that one we'll start with just the the head thingy like this then the counter weight of the chest then the hip that is the whole figure this method looks really cool I gave up trying to make realistic bodies a long time ago I started working with non-standard shapes and it became a part of my process it is my belief that as long as you have full mobility with your hand or whatever else you draw with really you can learn anatomy it takes a while but you can learn it this book will give you a more dynamic approach to it which is requires slightly more artistry I would say I consciously avoided the loomis method for that reason because of the stiffness I understand that loomis seems to focus on anatomy which isn't my favorite as I'm learning to learning I think I prefer the loose shape language I've seen here so far so that's the interesting part loomis while you know John Buscema and Frank Fersetta and Will Eisner were all in Bridgeman's classes for a little while as far as I know loomis was Bridgeman's assistant for a long time so he was first a student and then he were as far as I know correct me if I'm wrong here I don't want to miss speak but I can distinctly remember someone saying that and what I think happened is that while Bridgeman was focusing on art for art sake loomis was focusing on education educating people for for advertising to a large degree so let's see if we can find the shapes here and here you see again the quiet part the action part quiet part action part action part quiet part and that is not how the body actually works in real life but it is how it sometimes works actually and it is brilliant for showing motion showing energy showing the fluidity of and the elegance of the human shape Disney did have his artist go to night school I don't know if it was Bridgeman teaching probably not Bridgeman was in New York and was most active I think from 1900 to 1930-40 around there and Disney was in Los Angeles interesting conversations in the chat now let us jump to the next page and see this is a bit more these figures are a bit more complete figures so let's see if we can analyze them and find the basic blocks and again if we had this fella and if we had used a wire thin enough to bend him this would be easier so I think this is the volume that the plane that is easiest to get like that then you have the butt here so that's says that plane is like that I think and this plane is almost like where is it's hard to say it is kind of like that then when we start building upon this figure we can see if we got it right or not definitely we'll look for a pdf version of this book that is also good it is I don't know if it's in the public domain yet I think it's not 1952 to and the last book in the original series the first book was in 1920 and the last book was in 1942 so so next time I think we're going to start by playing around with the new and improved version of this one and then we are going to head to the next chapters which is the proportion maybe we'll even go how to measure and yeah maybe we'll try to do a few of the different chapters but today we're only going to do this chapter and we're even going to stop very soon because I am not finished with my work for the day so sorry about that okay so I'll I'll let the drawing be for now I think we got enough out of that chapter I think we will play around with this one at the start of the next stream just to freshen up and I'll answer a couple of questions before I go okay let me see and also remember you can send super chats you can support on patreon you can become a youtube member and you can buy art and merch and prints from den ungeherholm.com the internet archive has an old version of this book for free excellent let me see yeah it's all even if you practice something stiff or loose it's all about getting used to the anatomy even if your drawing ends up wonky yeah you wonky drawings all day long wonky drawings all day long okay what do you all mean by stiff and loose styles we don't necessarily just mean stiff and loose as in the line quality so this is a loose line while this is a stiff line but that's not all we mean very often loose artists draw with a looser line and stiffer artists draw with a stiffer line but let me see if I can find some examples let me see what I can find if I find my part books okay we'll see here I have two of this jacquerbie book why I don't know I must have bought it twice where is my miller book okay so miller is a very good example because he has a very loose line if we can find something let's see what we can find here yeah so miller has a very loose line and he has very wonky anatomy and he does all the bending and stuff where and miller is my favorite he he does all the cartoony bending and all that stuff but he is a bit of a stiff artist he's always been stiff it's a part of his style even when he's loose like these beautiful drawings here he is still stiff while I would say yeah also here a curbie definitely stiff you can see there is a lot of looseness in his online work and he's super dynamic but all all the shapes are a bit stiff now let's see if we can find an example of a loose artist well crumb is crumb isn't crumb is loose let's see if we can find someone who is a bit more I should have had my Conan comics here or something the Bushima was a very loose artist so yeah thank you Kim for the explanation thank you for Angie for your reply also that's what I interpreted loose as stiff as very interesting loose start loose and finish tight that is an option for instance if you see Frank Miller sketches he starts he starts quick but he starts kind of tight and then the inking often loosens it up Miyasaki I would think would be loose I haven't seen so much of his sketches he's very dynamic in the movement and I remember reading the Noseka in the Valley of the Wind comic and that was just beautiful and it was also loose uh I mean uh Möbius is also loose he can look stiff but he's very loose and basically this is like wine tasting it is loose or stiff because you feel it's loose or stiff kind of like our wine is oaky or dry because you think it is there is no set definition it's all compared to your expectations and to the work around it but the way I sort of envision it is the looseness that I'm after is about the physicality of the art of the motions of the art so I'm looking for things that are drawn quickly with the body using the body and also transforming the transferring those things to the to the paper and generally you know if you are an artist who sit like this or like this you are probably stiff or towards the stiffer it's not a hundred percent but but you know very tired I need to work on some other stuff any final questions before I go before I go go Josson is a very famous listiff artist he is magnificent comic book artist very stiff but but he also leans into his stiffness I think that a lot of good artists are also good because they lean into what they already do well and avoid what they don't do well I like to think of stiff as the character has a broom handle of their bum that is also a way of putting it are you left-handed yes okay I think this is everything for today's live thank you all for watching I will be back on Thursday with another draw what where you get to decide what I draw because that is fun and then on next Sunday we will be teaming up with this little guy again so and he will be new and improved with some proper copper wire if you like this stream then please do support on patreon become a youtube member or support by buying stuff from our website and if you can't afford any of that support by using my art all my art is available for free use so you can download it you can sell it you can change it as slow you can do whatever you want with it and I want you to do that as long as you put my name on it bye bye