 Okay I think we are alive. I think we are alive. Let's see as per usual I'm always always late. I need to place the camera a little bit differently like this. So hello everyone yes it would be good if you saw more than just my beautiful hair like this. Okay and then we'll do like this. Is that alright? What was going on? Nothing was going on. Nothing going on. I'm just always late with these. Is the sound okay? Hello all good all good. Okay excellent. What we're going to be doing today is continuing a little bit with the Bridgeman's Complete Guide to Drawing from Life. Again it's not going to be a long cast today because I as always have work to do on a Sunday night. So I hope that this will eventually even itself out and I will actually be able to prepare better for these streams. But right now it is what it is. What I promised last time was that what I promised last time was that I would be doing a few sketches with this figure once I got it working. I haven't really gotten it working yet because I'm stupid with technical stuff. But I can hold it like this to show how you can use it. For instance now I'm looking at the figure in as it is in the camera view just to show it to you guys. So the reason why we made this very simple little figure is that instead of being distracted with all the different... I can actually watch there instead. How practical. Instead of being distracted with all... oh now I'm watching behind still. Instead of being distracted with all the small subtle bends and twists of the body you just get some very basic planes here. Like this. And you see very clearly where the shadow is caused. And from this little figure that we did here we can develop the rest of the figure. So now that we have we know this is shadow plane then we can start making this figure more and more complex and adding the detail. Instead of using a regular like drawing maquette as it's called. I find this even this extremely wonky homebrew version more useful because it is so simple it just describes the planes and you have to take it from there. Okay so with this one we can sort of see that you know this is a potential way he could be holding his arms. Hello everyone where are people watching from? I like the way Kyler Rand's setup has remained Yes now my both of my children probably know more about YouTube than I do. So I'll I'll listen to them. Hello all you beautiful people very happy to be catching your live stream. Today is a art learning stream so that this is what we'll be doing just learning how to do get better at art. A lot of people from the United States today wandering soul from Norway. Hello hello and from Florida I guess you mean Florida, Bergen, Denmark, Ukraine. I think I will try switching to these both because I like switching tools and because I haven't used them a lot. That's why they won't open properly. Okay I haven't used them I've only broken them but they will also produce a much clearer line so that you can see more easily. Okay let's do one more figure let's try to bend him a little in this seems painful but let's try to draw it. Where did you get the figure? I made it on the last stream and it's extremely wonky because I haven't made a stand for it. Once I make a stand for it it will be still kind of wonky still kind of wonky and let us see here that I right position here so the main reason why this is useful is because it's so simplistic and now it could be very easy to think that you know this is the front of the head actually this is so we should do a little face. Hello so now you can see. Let's try to find that position again was it something like this and position again yeah we'll say it was like that. Okay so a little bit different but this is all the info we need by manipulating these three masses is very very happy fellow. By manipulating these three masses we have all the information we need to do the rest of the body. He is clearly either climbing a wall or pole dancing and the simplicity of it is the whole point. Okay I said I was going to keep this short so are everyone clear about the use of this figure and why you don't need more than the three firm masses three constant masses of the body in order to draw the rest. Definitely pole dancing yes you say it's simple but I can do that well I don't mean that it's simple to do I mean that the simplicity of the model makes it easier than if you were doing it with a more human-like model. With a more human-like model you would easier get distracted and get lost in the details. So let's give him a rest and let's read a little bit from the book. We'll be doing two chapters today and nothing in drawing is easy. So if I say something is simple I don't mean it's simple to execute. Drawing is hard or at least if you're drawing is actually incredibly easy drawing well is hard and that's always going to be hard. So we had gotten to this chapter the proportions of the human body and we'll just read here all the measurements of the human figure are divisions of the body into parts of given measurements. Okay I'll get back to what that means there are many conceptions of measuring scientific and ideal and they all differ. So what he's talking about here is that when we are measuring what we're drawing what we're doing is that we are finding a unit, a little part of what we're drawing that can easily be multiplied into equal parts so that we can use whatever we see to measure. So if I'm drawing my hand I can measure the length in fingernails. If I'm drawing my hand with holding this chalk I could use the chalk as the measurement but when you're drawing you have to use a measurement in your drawing or in what you'd see. Thanks for being you thank you. As a mathematician I feel offended by the formulation of that sentence. Sorry love the model it's way easier for me to focus on detail rather than the overall form so it would definitely help. Yeah go back to the past episode see how it's made or get the book and you download the book whatever. Watching from the Philippines. Go to bed it's late. I'm hoping to do more Filipino mythology soon. If given proportions were used even though these proportions were ideal average they would result in a drawing without character. Again to apply these so-called canons of art the figure must be on eye level upright and rigid. The least bending of the head or body would change the given proportions visually though not actually. So what we're talking about here is if you have a perfectly proportionate man so you learn that people are let's say eight heads tall one two three four five six seven eight so that would mean you have the torso here and then you have legs they have the arms the perfectly proportioned man okay that man is only perfectly proportionate as long as you are on the eye level with him if you are below the eye level then perspective starts getting there and now it's no longer eight heads tall if you are above him again perspective now is far less than eight heads tall okay and if he bends to pick up something then all the proportions get out of whack even if the legs are the same you can't use to measure anymore okay hello uncle trash okay so one thing I've mentioned every time about this book is that is the text is really hard and the art is very up and down it beautiful art but but it's very it's not presented in a very pedagogic way it's not written in a very smart way I love the book but it was put together in a very strange way you can go back to the earlier episodes where I talk about that but that's one of the reasons why it's useful to go through it through it and actually explain what they mean I think it's the best anatomy learning book is just really weird okay from an anatomical point of view taking the skull as a unit horizontally the bone of the upper arm the humerus and we can see this here on in these drawings if we take the skull as a unit then horizontally the bone on the upper arm the humerus is about one and a half skulls okay the bone on the thumb side of the forearm the radius is about one skull length the forearm bone on the ulna or the little finger side measures about one foot from elbow to wrist now he's using foot I would guess that it should really be text should really be maybe it should be foot the thigh bone or the femur measures about two heads the leg bone or tibia nearly one and a half heads the illustrations opposite show three different methods of measurement one by Dr. Paul Richard one by Dr. William Rimmer and one by Michelangelo not the Ninja Turtle and we're going to see do you do the ink blot stuff live yes on Thursdays I do the ink blot stuff live okay so let's look at these so interestingly the Paul Richard figures are seven and a half heads and the Michelangelo are eight heads and usually most art styles can be divided into how many heads an average person has so so for instance if we are let's say we're drawing with seven and a half heads so I'm just going to one two three four five six seven and a half so that is you know properly superhero proportions okay if we draw all the same character but with three heads then that is a more cartoony or chibi proportion okay and now the thing to and you should do this if you put for instance let's say the famous twins Arnold Schwarzenegger and Danny DeVito beside each other they are very different height and very different wideness but Danny DeVito in the same art style would still be around let's say seven and a half heads for him as well maybe seven but there's whether a person is very tall or very short usually there isn't all that much difference so I did this test with a picture of Arnold Schwarzenegger and the Prime Minister of Norway at the time Arnaz Hulberg and they measured they are very different bodies but they measured I photoshopped the heads boom boom boom boom and they measured the same okay yes that would be seven smaller head usually a smaller person has a proportionately smaller head or the head is still in proportion to the rest of the body you know there is some difference because some people have bigger head some have smaller but if you for instance look at some people who are born with conditions you know what was previously called dwarfism and those things often one of the things you see is that the head is disproportionately large for the body so it doesn't really fit with our conception of how the proportions should be and so most full-grown people are roughly the same measurement of heads there can be a little bit difference but not that much you would think that there would be more difference but there isn't a chondroplasia perhaps I don't have the time to look it up right now thank you and if we're looking at the Michelangelo version and the Paul Richard version both of those looks pretty good I've seen seven heads drawings look pretty good if you go above eight heads it starts looking weird it or it starts looking stretched if you go below six seven six heads it starts looking weird but in that kind of maybe yeah seven to eight is usually a realistic proportion and this is it's just averages no one looks exactly like the proportions and there isn't any judgment of good or bad in this it's just it's a way of measuring bodies and it is useful for us and now is a chapter that is very complicated but seems easy so have you ever seen people do like this and try to measure chances are they are doing it wrong and we're going to this is one of the few books that describes other there's more but but often books describe it a little bit too yeah too easily how to measure you have to measure first of all with your eye and by studying the model judge the comparative measurements of its several masses so the first tool you have of measuring is always the eye if your eye says that something is wrong but the amount of heads you've drawn or your other measurement says it's right it's probably wrong you should trust your eye above the other measurements okay then measure mechanically when measuring mechanically hold your charcoal or pencil between the thumb and fingers and use the first finger and the tip of your charge charcoal to mark the extremities of the measurements what you are taking so I'm going to go a little bit back there what you're what they're talking about here is this thing you're holding it and this pen is really good for it because it really has some actual marks but if you're just doing like this do you see what the problem is you're looking at your model you're trying to measure it measure like this and like this what's the problem you need to hold it very straight and you're you need to keep your thumb in the same place every time right yes and in addition as it says here your arm should be extended to its full length and your head should so tilted that your eye is as near as possible to the shoulder of your arm if you are using this type of measurement because here I'm getting all sorts of perspective twists there I'm getting less perspective twists okay from the model the space registered from the first finger to the end of your charcoal or pencil maybe one inch but on your drawing this measurement may possibly be two or more inches so you're not going to do the sight size method which is taking this length and transferring it directly to your paper you're taking this length and you're taking it down to your paper and saying this is actually this long on the drawing or it could be this long on the drawing well you're not seeing what I'm drawing it's this long on the drawing or it could be this long on the drawing so you have to keep track of how you're measuring and this is very useful when you are drawing models and we're drawing from life okay so the next part is in other words all your measurements are comparative and if the head spaces seven times into the leg and sort of figure and register say one inch on your charcoal or pencil obviously the height of the seven heads should be marked off on your drawings regardless of the size of your drawing which size you had in a general way predetermined and may oh what which size you had in a general way predetermined and maybe anywhere from miniature to mural so whether you're taking a figure and drawing it small on the page or big on a mural you're using the same measurement techniques I see an interesting question about pen and pencil I will answer that soon after I go through just this last bit the arm has its axis and its connection with the shoulder blade the eye being above the arm and moving forward has an entirely different axis and radius arms and necks vary in length also in measuring as in target practice is natural for some for some to close the left eye others to right and still others to keep both eyes open so with these varying conditions it is difficult to set down any fixed rules for the technique of measuring your own physique and tendency to use one of both eyes are such an important factor in any case however you must keep your eye as close as possible to the shoulder your extended arm your arm extended and completely stiff and what he's getting at here is that when you are using this type of measurement it's completely useless if you don't actually do it precise because the variation of perspective from here to here is so big that if you're mixing them then you should just do it by by his sight alone okay so we'll take a little side track to see that to answer how much pressure should you put on your pen and pencil I've recently began learning to draw and was looking for some tip so the most I'll see if I can explain this using let's say I'm using a pencil now you will see some people using the pencil like this holding it very loose all the way back and this is a typical art school way of holding a pencil and that's good that's perfectly good you get a freer line you get a looser line now this and this works better for larger drawings now the writing style and the comic book style is usually holding it like this okay we'll get to the pressure part as well if you look at for instance I can't do this but I'll try Eric Larson fantastic comic book artist he draws something like this it's a completely weird way of holding the pencil but it works for him okay that being said however you draw you should hold the pencil as loosely as you can and apply as little pressure as you can one of the reasons why we buy different types of pencil that we buy the HB which is very hard or the 3B or the 6B which is much much softer is to apply different levels of pressure because we don't want to apply too much pressure because then the pencil breaks and more importantly then we get issues with our tendons you get tendonitis here here or even up in the shoulder okay so yeah so if you're using a mechanical pencil usually people hold mechanical pencils down here for me it's natural to hold pencils in the comic book style I have learned how to hold it longer up but you can hold it any way you want but if you're applying a lot of pressure down there it's going to hurt the paper it's going to hurt the tool it's going to hurt your hand in the long term okay it's the same thing that's happening when you're trying to focus a telescope right you move the telescope by a centimeter down on earth and whatever you were looking at it's not or a miles away yeah it's not quite the same but we can actually jump to the next page and we get the really beautiful and and complex description of the problem so here it says on a figure there are no marks that may be used in proving your measurements correct again the model may be far above the level of an eye causing violent perspective only at the eye level can the pencil be held perpendicularly above or below the eye level the pencil or charcoal must take some studied and given angle and to determine this angle accurately requires some practice to find this angle take a paneled wall or vertical pole and upon it mark of six or seven spaces a foot or so apart then seat yourself several feet away at an arm's length and with the eye close to the shoulder inclined charcoal or pencil to register correctly each of the spaces you are marked off as in revolver practice you will become extremely accurate in judging the angle at which the charcoal should be held at different distances the same method of angles may then be applied to measuring the figure and I think maybe we should next lesson start by doing this because this is I've gone through this book a lot of times I've maybe just done that a single time so I'm really bad at it but I remember I was modeling for an art class and you know for me as an artist modeling it's hard for me to shut up but you know it's not my job to correct the teacher so I didn't but the teacher was a this was a bit this was a bit weird because you're standing there naked with people around who are going to draw you and the teacher was showing the kids or not the kids the young adults how to measure and she was standing like two meters from me and she was saying like a okay a figure is seven heads tall and she measured one two three four five and she didn't get to seven heads and she didn't understand why and that is and the reason is perspective every time she did this her perspective moved and and she just this was a she had been an art teacher for years this wasn't this stuff is a little bit difficult but but it is important also to note that if you don't do this part right then maybe you don't have to do it no and what what the art is talking about here is when you're measuring like this you hold it like that then when you are measuring up here which is above eye level then you have to start tilting it away from you so that you get the correct measuring unit okay and then if you're going downwards then you have to tilt it the other way otherwise you're not going to go correct get the correct measurements and yeah one of my favorite sketchbooks in Norwegian stores is that tree pack of shitty notebooks at co-op extra hundred bucks for paper to throw away it is important to have paper to throw away this is regular Xerox paper which I can do like this with because it is the absolute cheapest we could find in that like we when we buy the Xerox paper we buy these huge boxes with I think two thousand five hundred sheets per box you kind of look like a Greek God with a nine to five I feel like a nine to five yeah okay here are again the measurements if you're going to make one of these nice figures okay and then next time we'll start with the wedging passing and locking popping and locking and then we'll get to draw a lot more okay did I skip any questions or was did I skip a question that I should have skipped let us see you can call me Kim that's hmm homework would just be drawing the figure and trying to use that measurement method and seeing learning when it's useful and when it fails I use action figures they help the action figures can help a lot again the reason why I prefer this figure is the simplicity of it the action figures have so much detail to get lost in and the simplicity of the box figure is just in my opinion more useful good Lord caught you live just how to say I find you genuinely inspirational artistically politically and philosophically Kim what thank you James Kim what do you think of those little wooden figures you can pose to draw I don't like them I don't find them useful I find they bend all sorts of weird ways and it's very hard to use them to measure shadow or to get accurate shadows or anything like that so if you had a complete I know there are some realistic action figure like art maquettes but I haven't used them I would think they are more useful but again I think this is the most useful it's kind of silly but I think this one is the one you need probably make it better than me but you don't need more than this I mean he's chilling you can see that now he's sitting gaming that's my gaming position are the possible full hand once useful no I mean the reason why the possible full hand once in my opinion are not useful is for the first thing this mass here the main mass of the hand isn't as solid as you'd think it actually moves quite a bit the second thing is you have while drawing you always have one good hand model so the way you if you need a model for drawing hands you sit like this you make the hand that you want to draw and sure it becomes really difficult with they are making a fist for instance but then you may have a mirror and that is a much better hand model than using a lot of money on those shitty wooden hands okay I mean what's the most challenging thing for you to draw and in hands are difficult I'm not particularly great at drawing hands but for me I think things like cars and skyscrapers and minimalist architecture and I'm not good with clean lines I'm not that's not my specialty okay I'll answer a few more questions from the chat but in the meanwhile I have to remind people that if you want to see more of these streams and more of the streams with with ink monsters and more videos and more art for free use then please do support if you have the money become a member to get early access videos get video sketches where I try out video ideas get other stuff as a thank you for backing either as a member or on patreon or go to den ungehardholm.com and buy original art or merch or t-shirts or download my art and do whatever you want with it change it print it sell it as long as you put my name on it you can do whatever you want with it and if you think that's cool then sharing my art is also supporting me okay the wooden one painted in different color then it can help to understand what is where probably possibly Kim and then Kim Yong Gi the two Kims are similar artists yeah I am oh thank you so much Molly for becoming a member thank you so much that really helps and I I used to be become obsessed with new artists I found you know all the time while learning to draw whenever I found a new artist I liked I would copy their art I would learn everything I could about them and just you know get immersed in that new artist and with age that has happened less and less because you get more and more set in your ways and Kim Yong Gi is the last time I set myself down as a I gotta I gotta steal his tricks because he was utterly fantastic and I was really heartbroken when he passed away so young and I still have so much to learn from his approach to doing art directly with ink which is completely different from my approach of doing art directly with ink I too broke retro game are here spend last on marker pens and also with video games yeah I was just going to ask you if you had a patron which method gets most money to you I think the patron gives more to the creator than than than YouTube I think YouTube takes a 30% cut while patron takes a 10% cut but for from my side the most important thing is that you do it where it's the least hassle for you have you seen nerdforge on YouTube yeah they are great Martina is so creative and I'm in awe of the stuff they do and I yeah I want to I want to make something cool I want to make my computer into something cool they are absolutely great yeah one question I have is how choose poses for the characters and how do you go about drawing that so let's go back to this guy and now what I need you to do is tell me a little story what has happened to this guy today and you decide the story everybody if you can like the person also please support yes please support if you can't then support by using my art you can do that for free you can even earn money on it and that is also super helpful I've never been good at drawing but this dude makes me want to try when I get the chance I'll sub or member or whatever is called thank you so much and when you start drawing remember first of all drawing is difficult it takes a lot of time to get good at drawing second drawing is fun if you start out trying to draw perfection then you'll get frustrated if you draw this guy then you'll be happy so start by having fun start by playing around and okay start by playing around and then and then once you've played around enough to find things you like or that interest you start studying that and then when you get tired of that start playing around again okay now let's say the little guy has found out his girlfriend is pregnant and he is overjoyed now of course we could do the post where he's actually jumping for joy which would mean let's say here his back is sort of bent like this he's actually jumping for joy let us see if we can draw that very quickly sorry about I need to plan the camera angles better for this so he's jumping for joy like this okay like this that is the jumping for joy pose and I draw the shadows here here and then here and here and I'm and then the hips here the shadows here now that we have these we can do a guy actually physically jumping for joy and waving his hands up in the air isn't he happy yay I'm going to have a baby he's saying okay but if he what if he is at work so he was sitting like this hunched over and he can't jump up because he's at work he has to be respectable it just got the text message how would he react maybe he just sits himself right up boom and looks up like that and then we have the shadow part here shadow part here we have there and it's looking up like this okay so then we have this pose and he's so happy that he has to hold himself in on the desk yeah okay so that is one way of showing the happiness and let's say let's say he let's say he's out walking how does he walk while what does it do with with his step maybe like this maybe he gets a little skip in a step okay like like a child that is skipping down the street or maybe he actually go completely into himself so he's still walking he's actually hunching over more and just carrying the smile in himself okay yeah likes a stream that helps so the question what do you do when you are trying to figure out poses is that you ask yourself questions about the story about the situation about what's happening and then you start acting out the things you might for instance like like I said that if he was at his office then maybe he would leave back and grab his desk and then I can start feeling would I do like this would I I would I would grab the desk as widely as I could or maybe I would go like this so what you do when you're trying to figure out a pose is that you act out the situation either in your head or even physically with your body or with a little toy and yeah it's acting any final questions yeah there was a comment here that I find interesting I stopped drawing after sixth grade but I picked it up again years later and reignited my love for it and I've been drawing every day for two years that's excellent and the way you get better at drawing is by drawing a lot if you can draw for hours a day if you can't draw for minutes a day okay and most people stop drawing sometime during school some as early as first second third grade some as late as sixth grade some as late as high school but most people stop drawing because we start thinking that drawing is like those things you get grades in it's something you do right or you do wrong and we don't want to do things wrong and you know there's always someone who's better at drawing so you're doing it wrong compared to them and therefore many people lose their fun with drawing and when they lose their fun with drawing they lose their will to draw and they stop drawing sometimes even become jealous of those who continue drawing okay professional animators do this when they need to figure out how to draw a specific post they act it film themselves and use it as reference for their movie it's cool to watch it is mmm that's the school systems for you plebs don't need to draw so you're saying you're always gonna be wrong so don't worry about yeah I mean the thing is there are many destructive things about the school system but just from a purely learning level one of the most wrong things about the school system is that it usually rewards you for being right and punishes you or or dis rewards you for being wrong while in actuality school is one of the few places where you could or should be able to make mistakes with very little consequences if you make a mistake on your third grade math test that is very different from making a mistake on your tax returns the when you go out of school the stakes get higher with drawing with life with everything so you should actually use the school time to get good at making mistakes and fixing them because that's going to be the most useful way of learning but instead we say you're a good kid because you did it right and you're a bad kid because you did it wrong you know that sucks video games teach being able to fail and learn with no real consequences yeah it's not that it shouldn't have no any real consequences I guess we've seen that in a lot of video game design where they just took away the challenge and it's a part of the reason why Dark Souls and Celeste and all these other games are having a resurgence of harder games again is because we do need some consequences but again a good video game has consequences for failing but it makes it a part of the process I mean you're not failing when you die in Dark Souls you are learning how to beat whatever it is that you can't even fathom how to you will ever beat it so yeah I got that drawing funk recently and and I only recently started getting out of it and the most important thing to do if you are are want to be an artist and you get these drawing funks these drawing blocks which we all get is keep on drawing but find something where it doesn't have to be you don't have to like what you draw draw from an art book draw from life draw silly ink monsters all that now I have to end this live because I still have work to do thank you all for watching it was really fun and we will be back on Thursday with a new ink monster or a new requests from you and on Sunday with another lesson from Bridgeman's complete guide to drawing from life good night everyone