 okay we are starting how does this look is it looking okay and is it sounding okay I might have to I might have to play around a little bit with the volume especially because I'm trying a new setup here hello Eskil hello the cringe so the volume is okay and everything looks okay that that that is fine the levels look okay on the monitor my eldest son is finding excuses to get the song into conversations so now I'm stuck with that on my mind and now you're stuck with it as well I think I will zoom out a little bit so that you can see a little bit more and just bear with me while I try to find the focus again yeah then we're okay can you draw a dog with human legs eating string cheese then you have to go and comment that on the community post I posted just a little while ago because this is not the request drawing live this is the learning how to draw live so if you want to learn how to draw join us and we all learn together now for those of you who I should also say the request drawing live is on Thursday at 7 o'clock GMT plus one I mean 19 o'clock GMT plus one and I'm taking request and I will be putting off the poll and if I finish the poll winner before the live is over I will be taking requests directly on the live like human legs eating string cheese but that's on Thursday now my name is Kim Diaz Holm and I'm an artist from badigan Norway and I release art for free use everyone working with art is always trying to be better and this live is me trying to get better and hopefully learning you a couple of things in the at the same time and one of the books that I grew up with was this Bridgeman's drawing books and I had these in a bunch of different colored smaller books but now I have the complete edition and we have done this is the fourth live working with this book and I've gone through this book many times throughout my life but it's a good excuse to actually since I have an audience I have to go through the book thoroughly properly not just skim through it because I've read it a hundred times before so it's a good learning opportunity for me to have to to have to explain things to you if you want the full context of this and you know go into a bit of the problems and the strengths of this book then do go back to episode one this is a weird book it is kind of hard to use but it is also in my opinion the best anatomy book that I've ever encountered at least I always wanted to look into this drawing style yes so today I'm not going to be doing the ink drawing style that I'm most known for but I'm going to do practice the penciling style that lies underneath the inking so even though I'm not penciling the ink monsters even though I'm improvising them directly with ink my mind my mind's eye is constantly sketching imaginary lines imaginary shapes so that I'm I'm sort of penciling in my mind's eye as I'm drawing the ink monsters or the ink shapes and this is how I'm penciling okay so the last chapter we looked at was about how to measure and I did say that we would do the last exercise there but I have to write that down so I remember it for next time because I have to prepare the live to be able to do that now we've come to the chapter called wedging passing and locking pop and lock let us start reading please give me some tips for quick face portraits draw hundreds and hundreds and hundreds of faces and draw them enough of them past and you will get faster and these breakdowns are a way of approaching portrait drawing as well okay I'll ignore the comments for a little while and just read through this passage and then we'll draw quite a bit and then we'll answer a few more questions okay the upper and lower limbs are held in place on the cage and pelvis by mortise and tenon called the ball and socket joint and at the elbow and knee by Gingli by the ginglimus or hinge joint these are the basic forms of joints we have we have the ball and socket joints and we have the hinge joints the surrounding muscles by their position shape by their position shape and size are capable of moving these joints in any manner that the construction of the joints permit so you your muscles can't this is basic but your muscles can't move anything in any other direction than what your limbs are capable of you know as movement occurs and the body instinctively assumes a position suited to the taking of some action so when you get the body prepares to take any sort of action the muscles by contraction produce the twisting and bending of the muscles okay so so if you're you you are starting to for instance to walk or to point or to let's see I'm wanting to I'm getting ready to do a karate chop then that's not just the arms doing that movement it is the muscles contracting and putting the major the solid shapes of my body which is in this book is the rib cage the torso I mean and the head and the hip into the correct position for that and that that happens instinctively in doing so the muscles themselves expand shorten and bulge making smaller wedges or varied forms connecting the larger and more solid masses this shortening and bulging of the muscles becomes an assemblage of parts that pass into over and around one another folding in and spreading out it is these parts passing into or over each other that gives the sense of wedging or interlocking this might be compared to the folds in drapery where the folds change their outline change so that is the essence of what he's talking about here it's not about that you have one muscle here and one muscle here and one muscle here it is about how the shoulder muscle here overlaps and goes around and into between the brachialis and the triceps while the biceps goes in under here and in between the forearm muscles so it's these different types of shapes it's the shape that goes into something and it's the shape that goes folds over something and these are the basic anatomical shapes that bridgeman uses to describe anatomy with his lines okay a form either passes around or enters into the outline of the visible boundary of a figure so again this we're not talking about how the anatomy functions in real life that's that is sort of underlying sure but what we're talking about is how we perceive or how we draw the anatomy in line art first but also applicable to paint the visible boundary of a figure it should be an indication of what it really is the outline of a form within this outline for the same reason forms pass into and over other forms they wedge mortise and interlock the outline of a figure may be drawn so that it gives no sense of the manifold smaller forms of which it is composed again the outline of a figure may be drawn so that the sense of the figures depth of the wedging interlocking and passing of smaller forms within the larger masses conveys to the mind an impression of volume and solidity okay so so basically what is talking about here is if we are i can go all the way here with the art i think need to get this away so if we are to draw this one you can go really all like 90s superhero on it and start drawing every single i mean almost every single fiber of the biceps the brachialis the triceps and how each of these meet each other and i believe if you learn if you were into comics and trying to learn how to draw in the 90s then you probably encountered wizard magazine where bart sears taught an anatomy class and he basically did that approach and that's okay but what bridgeman is talking about is a much more essential simplification so it says that this shape overlaps this shape which goes into this shape which goes around that shape which again goes around here and around and and that would be the the triceps would be around this part okay i messed up the triceps hi yay greetings from california there oh thanks for this slide excellent so let's try first to do some of the basic sketches that bridgeman is doing so these are really funny so it's just the the box of the head and the the sort of a torso figure here and the stomach and the butt and i think this is why this book is a little bit hard is because not all since it was compiled from notes and sketches and not really written as a cohesive work it's not always easy to figure out why the illustrations are where they are but i think what he's doing here is showing some of the major forms in which other forms go in and out of okay which is why also he starts getting into more detail in the next little sketch more detail of how these uh muscles interlock without actually drawing the muscles and then you know we had this arm here here he's drawing it from the other side from behind but he's still just indicating the major shapes which will go into and out of each other okay that's kind of how i already draw though i'm still learning so this is kind of how you're already drawing in that case that's a good start i think i think this is a method which allows a lot of freedom in how you do your anatomy okay so let's uh toss this paper away and let's start looking at some of these this one i have no idea why it's there is that the part here probably something but that that's one of the problems with this book is that might be there from another lesson and or from something he talked about which isn't included in the notes so there might not be any context for it and uh yeah that's a huge problem and it's why it's better to draw from the book and learn by drawing rather than trying to figure out each lesson okay so it's a book that you can learn by copying by drawing you can copy it slow you can copy it quick you can copy it and then add detail or just tweak it and uh yeah that's how we learn uh what pencils do you use uh this is a hb pencil i generally prefer a much softer pencil like this one which is a 3b i hate red and blue pencils i've never understood them um i've uh i know that um a lot of people in uh concept art and in animation and in advertising love love love the red and blue pencils i've never gotten it and i think um bridge man is one of the faults there because that is very much uh created or more uh for softer artistic mediums like a soft pencil or charcoal that was a soft pencil a soft graphite and charcoal was what bridge man used when teaching the classes and it's a style that it's very hard to do this what with a now if i switch to uh pen it will be much harder to do this now we've forgotten to talk about what is happening here so the important details here is how the this form goes into that and then uh the butt overlaps goes around the thigh and here these might also be kind of random why they're put in there but they're very cool to draw i really love these small ones animator bob kline was a big fan of the red pencils uh yeah it is very much uh integrated in the in the the the the the animation school of thought and a lot of the people who started animating in new york where i mean the pop-eye cartoons and betty boo and uh a lot of other animations were drawn in new york and they would likely have passed through bridge man's classes and so there is some similarities here and if uh you have ever uh i've talked about this on all the lives i think but if you've ever seen and reloomis's books then he was a student of of bridge man but his work is much more or it's less about the art itself and more about its application to advertising and that is why it's so useful for people working with concept design and with uh with with computer games with with comics and all of that because those are more more geared towards a reliable production well this is more geared toward an artistic expression and there's nothing wrong with either of those and i mean uh i've talked about this before but will eisner studied a little while with uh with um bridge man and um i have to check if burn hogarth did uh uh frank facetta did john buscema did jack Kirby probably was um if he was never in the classes then he probably and i don't remember so sorry if i'm saying anything wrong but but he was at least exposed to materials from the classes frank facetta was i don't know i don't know if anyone knows if he ever was in the classes because he kept tight about ever being educated in any sort of way but we have uh uh sketches of frank facetta based on bridge man's stuff so he was and you can sort of see it in his anatomy as well so so these things are hugely influential outside of what bridge man did as well okay now we've done these figures i don't really know how much they had to do with the wedging and locking which is one of the problems of the book but they were fun to draw so yeah so let us see a little bit this one looks more like a tutorial in wedging and locking we'll start now we'll actually we will try to start as the book said by putting up a bottom and her top and uh then doing the solid shapes first so remember according to bridge man as long as you place the solid shapes which is these three shapes remember this guy he's got a hip problem so as long as you place the three solid shapes you have everything you need to draw the rest so we start with these and then from these solids we will start doing the rest and here we're seeing that it shows how the and this isn't an accurate description of how the muscles actually actually are under the skin it is about the impression the muscles give on the surface of the skin in that position so in that position the thigh muscle will create a shadow here and the knee will stick out and then again this muscle wraps around and we missed a little bit uh on the height here but that's okay then we just adjust okay is everything clear so far if i'm rushing over anything and being unclear then apologize i apologize you don't need to apologize never apologize unless you want to or you done something wrong or you know apology is in play you never apologize except when you do okay so using this figure we can also try to make it into a more complete figure again here you see the overlapping and you can see how is this leg going i by analyzing it sorry oh sorry enough sorry by analyzing it you can see it's not going like that leg because then you would have this overlapping here you don't have that there which means that muscle isn't bulging it is stretching what's the word i'm looking for i'll find the word later so that means the knee is bent okay and here we have to remember the earlier part of the book where we talked about the active side which is here and then the passive side the active side then the passive side how that's what creates the dynamics in the figure and again this isn't based on how reality is it's sort of close to how reality usually appears to be but it's a way of drawing dynamically okay extended opposite of contracted yeah that contract was the word i was looking for i think stretched and contract no contracted and i have my mind is words words words to quote the poet fab caught you again joined your patreon last week and near here one here who hasn't it's worth it to support making more free art yes please do consider supporting me by joining the patreon or becoming a youtube member i'm working towards doing so that whether you support me on patreon or on youtube or anywhere else um the the bonuses you get are the same all over and none of those are you know i'm not making full content for uh uh the backers i'm just doing small things that hopefully are interesting to you and also um hopefully are uh useful to me so now we have to analyze what's happening with this here how is that arm going and i would actually guess based on how far this is going back i would guess that it's actually holding something like this back and then you could even extend other arm like this i just got here we're not almost done now we know loads left loads left we've been going for how long have we been going and also do remember to remember to uh hit the like button to comment and to support either by joining the patreon becoming a youtube member or by going to den ungeherholm.com and buying originals merch or prints or just downloading my art for free use now let's get back to the bridge meaning these are awesome studies thank you so oh hi so i think this is a more or less decent version of that okay let's try this one on for size as well again let us do the method that bridgeman tries to teach in the book start with the bottom and the top and first place the solids and place them correct so like on this figure the solids have only they're all boxy they're not detailed it's boxes on boxes and for instance here i'm i read this a little bit different than i think it was intended just sort of a little bit looking up i think and here the box is sort of something like this and then that comes together sort of something like that okay and then we start placing all these wedges and interlocking and wrapping around okay so no details in the face we don't need that but we need this throw shape and the muscles that are sort of wrapped a little bit around and then goes into the head and then we need the shoulder muscles which the the other the neck muscles goes into the shoulder muscles again here which is why here the shoulder muscle overlaps while here it goes into Bob boxy body yes again this shoulder goes into the middle of the triceps not the biceps which goes into now it's he's touching that guys ass that's very inappropriate inappropriate if the character was not muscular yeah so if the character is not muscular that all the principles are exactly the same so we can try to do exactly the same with a non-muscular character afterwards remember it's just muscles shapes going into other shapes and going around or interlocking all it is now i'm getting sloppier with these sketches so let's not do too much more on this page just while sketching think about the muscles pass in or around each other let's try to do the same pose but with a very obese person okay so the main shapes are exactly the same should i more like this yeah the main shapes would be exactly the same so it's the same boxes we used for the previous character and it's the same twisting and turning and it's the same limbs attached to that body the difference is the amount of muscle and fat under the skin which is covering things so for instance you might not get this really good sense of how neck muscles go into the shoulder muscle and you might get another type of overlap or the now he so far he's very muscular this guy as well and some of the things might get very much obscured but you'd get things like the same points overlapping and that's where the skin would also start folding if there is enough body mass on it so when the character is like this then basically his back is a little bit like this and his front is like that that means this is the passive side and this is the active side in the drawing which means the folding of the fat would happen here while here it would be stretched okay and then underneath here the thigh would still bump up a little bit against the belly forearm would still go into the upper arm and you'd also for instance in a person with much extra fat and skin that might even overlap somewhat not over like the the elbow or the knees but still some shapes going into and some shapes going out of okay so basically same drawing technique different body size a lot of the muscles won't be visible in the same way but the um the basics are the same and this idea of a active side and a passive side would also inform where and how the different bulges of the body would go ooh the different bulges of the body and the just to say something here I know I haven't practiced enough anatomy the last many years so one of the reasons why I'm doing this is to again learn more about anatomy there are other artists who are masterful at this stuff in a way that I've never been so for more in-depth lessons I would go to them I mean I mean people like Steve Houston the guys over at Proko TV or there's so many people online teaching magnificent anatomy and I'm trying to learn an interesting anatomy again here we see the active side the passive side and it's very efficient when uh active side passive side very efficient when uh Bridgeman does it like this so many interesting bulges oh my what an interesting no I can't do that but sorry and if you look at something like this the point isn't being accurate the point is to accurately give the impression okay the lesson here is to sit down and practice something you're not versed in it's a great example I have to say that I am versed in anatomy I am not it's not something I've I considered I consider myself as having mastered so for instance with uh ink uh brush techniques I consider that I have a certain degree of mastery which is which is nice to have but with this I have not mastery but perhaps proficiency okay and and the interesting thing is that even though I'm doing a lot of mistakes and a lot of there's a lot of things I could improve I think I'm both doing this and understanding this better than the last time I went through this book yes I just mean you don't do it every day you're a great inspiration I shouldn't do this every day I should do this every day but I don't have the time sorry yeah we have a lot of these are just magnificent weird drawings and we'll just this you can see is the stick man the box man and uh but it's just so lively and I'm not sure all of these drawings were originally to this lesson and if they were to this lesson I'm not sure they were to illustrate the points that got written down in the text that is one of the problems of the book as I'm always coming back to but they are magnificent and they are so fun and weird to copy and sometimes when you copy them you notice that oh this is actually I is doing this here for instance again any things that is unclear just give me a shout and I'll try to explain it better and sometimes of course the explanation will be actually we covered that last time that can also be a good reminder to go through the basics and uh yeah and here you see the super simple box shape and it's these and I've never been quite I never quite understood how Bridgeman does the hip box it seems counterintuitive to me but I think I'm getting closer to understanding it so good and that's also something that's very important to to realize like Andrew Loomis took Bridgeman's classes but his way of both drawing anatomy and teaching anatomy is his way it's not Bridgeman's way because you adapt the what you learn to your own style when you look at if you compare the comics of Will Eisner and Frank Fressetta you can see that both of them have gone to Bridgeman's classes and for both of them it was a huge influence on their art but their styles are uniquely their own there's never a second where you believe that a Will Eisner drawing is a John Bushima drawing or the other way around and that also goes for the way in which they render and build their anatomy Bushemas is very much closer to like he's closer to Bridgeman he's closer to the classical master style he's extremely loose in his sketches but with an accuracy while Will Eisner is equally loose in his sketches I'm not actually not that loose in his sketches but looser in the finished piece and yeah it is more cartoony more more bendy more exaggerated shapes and so sort of Bushema has taken Bridgeman style and also added to his comic book style a more classical anatomy so he's added detail and precision to the Bridgeman method while Eisner has simplified it and made it cartoony yeah I'd be surprised if Fressetta wasn't a acolyte of Bridgeman with the whole muscle towering tower thing going on yeah so so I haven't been able to verify whether or not Fressetta actually took Bridgeman's classes but he did have studies and copies of drawings you find in these books so at least he studied the books and it's also very likely that he would have gone through the classes it's the right time and he would have been kind of young it's the right time and it's the right place and it's obvious a huge influence yeah and you know what we're thinking about here when we're sketching these shapes is what goes into and what falls around and that's all we're thinking about in this particular these particular sketches we don't need all the other stuff we just thinking about which shapes go into which shapes wrap around here comes a kickflip oh my big accomplishment on skateboard while probably like 10 years old was that I once managed an olikic flip that was as long as I ever got gonna disappear now thanks for an very interesting stream thank you I need to get better at establishing movement with form these have life and it's wonderful to watch yes but that's one of the things that is so wonderful with Bridgeman is the life that it has and and one of the explanations that I've talked about in previous lives is that he drew the some of these are student drawings some of these are Bridgeman's own sketches on regular paper and a lot of these are sketches that he did in front of a class that were elevated perpendicularly from the ceiling and he was a tiny little man so he stood with a long stick and a pencil a thick pencil or coal piece on the edge end of the stick and drew up above himself in the ceiling and produced things like this my friend accidentally did a front flip of a skateboard when she hit a cherry seed I've never managed an olik some day some day oh I almost forgot this little figure I'm just going to do some of these extremely rough because what I'm noticing is where the shapes go into and around that's all we need for today enough of these pages even more pages this is one of the most macabre drawings I've ever seen what the hell is going on here again that's also some of the fun of this book is it it's not clear why the hell this drawing is in there that sounds incredibly difficult to draw something like that yes it does sound incredibly difficult but it does explain why some of this art is like it is it has a looseness that you wouldn't necessarily do if you were preparing artwork for a book this sketch which is not done in the ceiling but something like this or this could be done in the ceiling I've never I have yet I've actually have yet to learn to skate it's one of my new year's resolutions so good luck with that I a couple of years ago I stood on a skateboard for the first time in many many many years and I noticed the increasing anxiety of age if I fall I think this is basically to illustrate how the what's that muscle called these are the laterals did you read divine comedy by Dante no I haven't read the whole of it I've read parts of it and summaries of it but I find the very difficult to read especially since you know it's all political allegory and satire of characters and politicians and merchants and nobles that we have no idea about anymore I had rollerblades as a kid because my mother was paranoid about skateboards yeah so in Norway actually skateboards were illegal until I think 1988 and that's when we got skateboards when I was eight years old how old is bridgeman's book so these are a collection of a number of books the first one was published I think 1919 or 1920 and the last one either in the mid 40s or I think 1942 might have been the 50s early 50s let us see here 35 42 is the last one and 1920 is the first one why were skateboarding illegal because in Norway a lot of stuff was illegal if there was any sense of danger around stuff it would be deemed illegal very quickly I mean Monty Python's life of Brian was promoted as the film so funny it got banned in Norway which it did Norwegian society has changed a lot from 70s and 80s I came how much do you know about Aztec my mythos not enough I've been researching it on and off for a few years but definitely not enough yet I do want to do things about Ketzal Kattel and about Witzilu Poggl and about all the different stuff and about the blood and sacrifice and the marvelous architecture and sort of a proto empire building and all that stuff and it's very interesting and I even did write and draw some things about conquistadors and about about Ketzal Kattel but I never published them because I was never 100 percent happy with how they turned out I mean with the conquistador script I had the idea but I never managed to cut it down to work in less than a minute so that was that problem yeah the book is bridge man's complete guide to drawing from life and it's a collection of the smaller bridgeman books and no I don't know especially much about this edition the print isn't terribly good I don't know who has the rights or sterling publishing seems to think they have the rights it's probably something you can find online nudge nudge know what I mean it's just one book or different parts this is four or five books put together and none of these books make completely sense because of how they were written but go back to episode one of these lives for that story because I've told it too many times it would be great to see such illustrations of the conquistadors and Ketzal Kattel should you decide to publish them I think the art is actually up in the ink monster gallery but but the videos never got published I think I think the problem was I had a thesis that I wanted to do and basically the conquistadors ones was I mean telling about the kind of insane blood thirstiness of the Aztec empire and the human sacrifice and the plain awfulness and the hunting of nearby populations and all of that stuff telling about all of that and then saying that that there was good reason why so many of the surrounding peoples to the Aztecs joined the Spaniards in fighting the Aztecs but they couldn't have imagined that what would come after would be even worse that I need to figure out how to place this mic and how to not be out of camera all the time or maybe I should just zoom out a little bit I enjoy watching you make your art I guess there is always a heart over it is poor design I always see a heart over the lower lowest comment thank you for bringing more beauty to this world thank you for saying I'm starting to understand the point of these drawings more and more it is especially in these shapes how how these muscles instead of drawing the full six pack how they are like a field which other things can overlap over interesting stuff though you've done your research well that is I try to I didn't always try to do my research well but but the more people have I feel a greater pressure to do proper research now that I've done some researched videos and it would be sort of a betrayal if I started presenting things which are dubious I'm sure I get things wrong I mean I'm not the scholar I'm not an academic I get things wrong but it would be a betrayal if I just started getting sloppy in my in my research sorry the brain is starting to slow down yeah finished with this one your content is very refreshing compared to most things on youtube just would like you to know yeah that's what I'm aiming at so to speak um I'm deliberately trying to do things that are outside the established youtube and other social media um formulas not because I don't think there's value in them but but because I think first of all it's fun to try to do do things that are at least slightly new or different in a way second of all I do think that that that if you are an artist on social media you have an advantage no other content creators naturally have and that is the ability to do things totally unique totally you and that's what I'm trying to find I mean uh no shame on Mr Beast or Mr Who's the boss or any of the giant youtubers but they they all or someone like Age Bomber Guy fantastic content fantastic super smart politically astute great storyteller great editing awesome stuff uh but in the end the things he do the things he do is a variety on the same type of youtube video essayists with a little bit of his personality sprinkled on top and done better than most anyone but as an artist you can create a whole universe of your own in a sense so that that's that that's at least what I'm thinking right now it's hard I haven't gotten much traction on my long form videos yet uh there are obvious reasons for that the most obvious one is that they're not quite as good as my short form ones but I'm learning and I'm trying to find my personality there and I'm trying to also do uh things that are more and more special with the shorts and hopefully have fun in the process proko is great art youtube yet proko is fantastic and and a lot of people have said to me why can't you just do art tutorials and one good reason why I can't just do art tutorials is proko I would have to start competing of course competing in a friendly manner I mean proko is great about um taking loads of different artists who have their own teaching platform and giving them a uh um a spotlight on proko so so it's not so uh the the competition part is friendly but but I if I did tutorials I would have to compete with the quality of the stuff that's shown on proko and uh quite simply I'm not good enough but I am good at some other things have you heard of jessa he's done cartouzi also magnificent so incredibly charming and also great storyteller and just plays around and do things that are very mass appeal very good at getting viral all that stuff magnificent love uh uh jessa bro you get better set up and you are definitely good enough in terms of good enough at teaching at doing tutorial content I'm not arguing about art skills because uh you know uh both proko and uh jessa can probably do a lot of things I can't do and I can probably do a lot of things they can't do I prefer my art style which is why it's my art style and I guess I hope jessa and proko prefers their art styles now it is very simple like that but um I think we can skip these um the foot here is interesting but I'm in terms of making edited short form and long form educational content for the youtube platform that is a huge skill that I don't have and I'd rather use my time making my type of video art what are you drawing we are learning to draw from bridgeman's complete guide to drawing from life we're just about oh we have even more sketches to do here okay any comment on indian uh mythology so are you talking about um are you talking about hindu mythology and then that's also uh uh issue where I I have done a lot of research but I feel I need to do more research oh this is uh proko is great but one of the hard things about it isn't the understanding but the applying stage as uh you might understand every word but application still requires a large degree of skill yeah so so uh any tutorial that's 10 minutes or 30 minutes or an hour on youtube will suffer from being something that's you know it's meant to be understandable in a 10 minute package in an hourly package but these are things that take years to understand soul breaker gets a time out because that just seemed like spamming yeah so maté you don't get a time out yet this is my opinion on the subject of art and artists I don't think art is created I believe it is manifested from the infinite source of all that is which is everything that imaginably exists it feels like that sometimes whether or not it's true it feels like that sometimes and other times it feels like uh it's your hard work uh I think the truth can be both uh we're studying art today uh we are not make making uh anything we're just sketching studying art so studying bridgements complete complete bridgements man you are so fast yes I draw fast and sloppy that's my my forte and yes I have uh I have taught classes uh if like if my youtube fame and uh my youtube um uh my attempt at seriously making videos and video art for youtube if that had come I guess five or six years earlier six years earlier than it came then it would be much more natural to do uh tutorials and classes because then a much bigger part of my day-to-day job was teaching classes not terribly much but enough that it was something I was actively thinking about and it isn't anymore no one for president yes oh I have no problem I don't need to put the I mean time out I just need to block hide user in this channel because if you go in here and say Trump 2024 I have no problems discussing politics or Trump or anything like that but but but if you come in here and you say Trump 2024 if you say uh uh stutter for life if you say Jesus saves or only with buddha can you find the way or anything like that then your intention in entering the chat isn't honest it is to disrupt by to spread your message and I don't want you here and it has nothing to do with Trump or Jesus or Biden or whatever it has to do with the intent of disrupting where I can get a pen like that this isn't a pen it is simply a 3b pencil where I've cut off a lot of it so that you have a longer front and that is designed to draw more like holding it like this like a lot of art school students does I tend to hold it more in the comic book style which is more like you write but I'm trying to I'm trying to do new things one of which is shifting the grip bro are you guys talking about who's gonna be president no we're not talking about that we're talking about spamming and trolling we're talking about art I love art I love working with art materials sadly I'm not good and have no time to practice because of a toddler and a baby a toddler and a baby takes all the time I I know I know but the the lovely thing is you don't have to get good at art you just have to have fun and then if you have fun for a long enough time then you will get good and you don't really some people start thinking like oh if I'm not good before I'm 25 then it isn't worth it but you have these examples of people who have started drawing at 40 or 50 or 60 even and because they have been able to allocate the time then and also allocate the experience from life and because they have taken it seriously they've become really good in really short time and you know I've seen artists who started when they were 50 and know more about art than or about specifics in art than I do I didn't even start drawing until I was was it 38 yeah you can start whenever you want here is also one of fun things about this book this is a wonky drawing look at that face that is awful but it is a side effect of how it's done and still I think this drawing is more useful at least to me than for instance the loomis I don't mean to talk crap about the loomis book I think that is a very valuable art book but to me this is so much more useful even though it's sloppy I will not draw either quisling or hamson as I don't know what El Kagan air is but just started sketching out 29 cool good luck have fun okay let's see how long okay we can do shall we do one more chapter I said for I said for a long time that I would do two chapters one day and so why not now it is so there is always some 13 year old kid who draws was better than most artists yes there is one of those kids was Picasso who grew up to be one of the greatest artists of all time and I think there are stuff he did in in early in life that's completely okay and I don't get his adult stuff I think that is boring and it is derivative of himself very quickly you know I I understand why he's big I think that's marketing but you know and not to shit on you if you like because we all have different tastes but just an example you know magnificently technical artist at a young age his work doesn't give me anything at all there was a grown man acting like 13 or your olds in the chat is it in this chat except for you asking for all sorts of your favorite comics or comics artists you know all my favorite artists are comic artists you can see we've talked about John Buscema and Will Eisner and you know even Frank set us comic work but Buscema and Eisner especially with Buscema is huge favorite Frank Miller is the most important artist for my evolution and still I love Miller's work Sam Keith, Simon Bisley, Möbius, Heroku Samura, Gosecki Kojima so many Robert Crumb so many after you are metal so I like some goya yes uh now I need to if we're going to do one more chapter I need to actually start doing this because I'm starting to get tired distribution of the masses it is not granted many of us to remember complex forms so in considering the human figure it is better at first to think only of those major forms of which it is composed and these may be thought of more thought of and more easily remembered by a simple formula such as the following so basically he's saying that our brains aren't made to to remember complex forms but there are tricks to simplify that makes them easier to remember thank you for your words I tried to do art with my toddler and bought some art supplies that we can both use now my son begins to have so much fun when we draw together that is perfect can you guide how to draw a human figure that's what we're working on here so skip back and uh skip back to episode one and start from there or get the book in addition or download it from somewhere and um yeah follow along so next part is considering the wedging and passing of forms from the front of the figure so here so here we're going to draw along with what he's writing the square of the ankle which is a weird thing passes into the triangular cuff of the leg and this in turn turn pass into the square knee okay uh the square knee passes into the round thigh into the mass of the hips and that is one of the main solid masses which in Bridgeman's universe is a square okay from the sides of which a triangular wedge enters the rib cage that is this is that a triangular wedge no it's this way entering the rib cage okay the rib cage is oval below but approaches the square to the shoulders into the square enters the column of the neck which is capped by the head the head when compared with the forms of the neck is a square this is the simplification that Bridgeman does and it looks utterly silly but in here you can see how it goes from the square to round to wedge to round to square here you can see how it's more it's rendered more in a more finished way so we'll try to draw this and we'll try to start okay remember we should do the top and the bottom and then we try to fit the shapes more or less first the squares and then that is like this something like this okay okay so then we go from the we do the foot which he doesn't describe for silly reasons one of the good ways of finding out that this book is weirdly written is that there are so many things that would be described in a more detailed art book from the square to the triangle to the square to the roundness into the square of the hip and then we do the same on the other side start with the foot soul breaker gets a time out for trolling we should have moderators uh interesting comment here was uh there's probably no one thinks that you need to learn how to draw uh which is sort of a compliment and I appreciate that a lot but I know that I need to learn how to draw I know that I there's a lot of things which I'm very strong at and there are a lot of things that I'm really weak at and there are some things like anatomy which I'm proficient at but I would like to be more than proficient so now the round of the hip has gone into the square here and then we have this wedge going into the round of the rib cage okay I start doing my own shit all the time here what is your opinion on modern Japanese art I know too little so so no opinion as a whole it's not Swedish it's not German it is Norwegian again here would be a square and then it would be a sort of a wedge then a triangle and then a square something like that same here wedge going into the square triangle okay so uh just excuse me a minute I lost my eraser let's start raising some of the scribbling here and just see if let's uh let's try something different not that different let's see if we can simplify this the brush give it a sense of realism even though it's very let's do it very quickly even though it's a very rough sketch let's try see how it works and if we can get that correct rhythm shapes and how they pass into each other your storytelling is very good ever thought about making comics and graphic novels that was what I worked with for years but that was too hard for especially for my mental health and uh I had to make the very hard decision of stopping my lifelong dreams of being a comic book artist and uh failing and becoming a goddamn fine artist instead falling to the level of fine art god damn it a little bit stiff here and there uh functional eh which series do you have to take in a uh not necessarily in swedish uh a part I do a lot from the norwegian magazine not even in the teint series but a lot of bi-series and illustrations I'm out of an adaptation of pikman's model I I can find that here is my comic book adoption of pikman's model hp lovecraft nice comic I like it I think it's probably one of the best things I've done even though I did it in 2012 so what we've done here is basically think about some of the shapes which we drew first in pencil it's not perfect but it is what it is so now we've done that okay are you present me to meet us uh to meet us uh yes uh considering the wedging and passing of forms from the rear of the figure the head is square capping around neck let's do this one as well the head is a square the round neck rib cage square at the shoulders wedging into the neck ooh the rib cage is wedging into the neck triangular below wedging into square hips what's the name of the teint in my lovecraft pikman's model you can find it for free use at archive.org it's also up for sale at indyplanet i-n-d-y planet.com I don't know if I've sold anything there for years but you know uh can you draw some black metal stuff sometimes so one of the things that are up on my youtube page is for instance the time lapse of me drawing the cover for a but outstrider album uh which I did together with uh olav eversen who had the design and idea and francisco munius who did the photo I based the art on uh so so there you have there you have uh some black metal art from me I will probably do more but but yeah I think if you like how should I say this if you like some very influential black metal early second wave black metal from outside of Scandinavia yeah then hopefully in a short while you'll get to see something really cool waiting for replies so hit the da yeah wedging into square hips the square hips rest on the round pillars of the thighs the t's knees are square the calf a triangular and the ankles square so again round shape square shape triangular square bathory gulaget and I that's not some I like bathory but uh how many languages can speak uh Norwegian English and a tiny bit of Spanish okay and then it is just some more sketches here trying to show how the different parts are why this is a square and why this is round square triangular square wedging into the square head okay with that I think uh that was the last drawing I'll do for today I will still be around and answer a question or two bathroom is good but Quarton has been dead for 20 years probably not releasing anything new yes um while I'm waiting for questions I can say that if uh you want to support what I'm doing whether it be learning how to draw and hopefully teaching some of you a little bit about drawing or it be the videos and the shorts or it be it be uh all the art for free use you can support by giving super chats by becoming a youtube member you can support on patreon you can support by purchasing things from den ungeherholm.com or by just using my art all my art is available for free use so you can download it print it change it and even sell it as long as you put my name on it can you test out these croquis images that are old and overweight yes I can we made an overweight earlier today we did a chubby version of the same and show that it's exactly the same principle still do you know brothers of metal hearing this on power snake and wonder if you can draw joramund gandhi someday I do not know brothers of metal power snake is a fantastic name I have drawn joramund gandhi the midgard serpent a bunch of times and I will again I wish I could draw every image I see in a grain of wood or tile or even a cloud I don't think anyone can but you can draw cool stuff that's more of that's more important than being able to draw everything is to be able to draw fun stuff and have fun with it any final questions I know it's stinking I was 12 when the church began to burn some of the elders who were in black metal and I was not in it before the year how do you work with these simplified shapes when the point of view and foreshortening are in conflict with anatomy such as frog perspective with a knee towards the viewer it's still the same if the knee is towards the camera and it's a sort of a frog perspective then the shapes the other shapes are still the same it is just the perspective that's different the shapes are exactly the same but their size is different so still the round of the thigh going into the square of the and now I'm describing the bridgeman style of drawing these I'm not describing the style I'm doing all on all my own art because we all adapt these things to our own use are you friends with Scott Kristensawa yes and we are doing we started earlier this month with a regular monthly stream so we get to hang out and draw together and that will be the first Saturday every month Gustav Dore's copper stick to Don Quixote I'm running out of mental energy it's been really fun to stream with you guys how long we've been going for almost two hours but it was fun and we got to do two chapters in the bridgeman's complete guide to drawing from life and I feel that I learned a couple of things even though I have gone through this book many times before ever since I was a kid and I'm still learning some new things from it and it's always good to go back and practice or to practice new stuff I mean when we get through this book maybe I'll do something completely new that I don't know at all by the time we we we have gone through the whole of this book I guess Scott Kristensawa will have become such a superstar that he has his own how to draw with how to paint with watercolor and gouache book and I can just learn from that okay it was fun do check out den ungeherholm.com there are links in the bio and also check out my video subscribe if you haven't and become a youtube member if you want