 Okay, I think we are alive. I hope we are live. Can you hear me? Okay, a little bit of delay at least. We'll see, we'll see. Yes, a little bit dark here perhaps. Let's see if we can figure that out. Bad morning, but it's evening. There's someone sneaking in the background. What are you creating? Today I will not be creating anything. I will be learning how to draw, because it's just about time that I learn how to draw. Don't you think? Wouldn't that be fitting to learn how to draw? So this is, I think this is number five of my Bridgman Complete Guide to Drawing from Life, where I'm reading through this book, which I've gone through many times in my life, but now I'm going through it with your help. And yeah, we have gotten all the way to the chapter on balance. So that is where we'll begin. My name is Kim Dias Holm. I'm an artist making art for free use. So whatever you see of my own art, you can use however you want. Of course, the practice art I'm doing today is just practice art. If you want more streams like these, or the Thursday streams where I draw your requests, then please consider supporting by becoming a YouTube member or sending a super chat. Draw Godzilla. I'm not drawing requests today and stupidly enough, Godzilla is copyrighted and I release all my art for free use so I can't really do Godzilla, even though it would be fun. Okay, shall we start? So first we'll start by reading some of the text. Then we'll be drawing some of the sketches and then we'll be reading some of the text again. If you have missed the first four episodes, then don't worry. You can go back into archive and see them. You can also get this book probably in this way with your pirate money. You can probably get this book many ways. If you have a few of Bridgeman's books, then please just follow along. One of the reasons why I'm doing this book is that it can be a little bit hard to figure out on your own, but I've gone through it so many times that I probably hopefully can make it clearer than the text is. If you want to know why it's a bit of a weird text and a weird book, then go back to episode one and two, I think. Okay? So we've gotten to balance. And last time I said that I would be doing one of the measuring exercises this time, but no, not this time either. We have to wait a little bit more because it's a little bit more technical to set up. Okay? So balance. When several objects are balanced at different angles, one above the other, they have a common center of gravity. In a drawing, there must be a sense of security, of a balance between the opposite or counteracting forces, regardless of where the center line may fall. This is true no matter what the posture may be. A standing figure, whether thrown backwards or forwards or to one side or the other, is stationary or static. The center of gravity from the pit of the neck passes through the supporting foot or feet or between the feet when they are supporting the weight equally. So this is basically... Let's find some paper. You have become one of my favorite artists. Thanks! So if you see these sketches here, this is what he's talking about in the beginning. So completely... We need to find... Let's do this instead. A completely standing figure, like this, is standing with the center of gravity right there. But if you, for instance, are leaning forwards, then you either have to, for instance, put a... Either you have to put a leg forward, like this, or, more likely, when most people lean forward, we actually bend our knees. That is the hinge motion that you hear so much about if you're lifting weights. So that is the hinge motion. And the reason why we do the hinge motion is because we're adding a counterweight, so we don't fall boom over. So in all of these, the center of gravity is kind of... Now I'm losing my train of thought because I'm being stalked by Kylo Ren again. Come on, come out here. I've noticed you've been stalking me the last few minutes, and it's getting me very unfocused. Bad Kylo Ren. Back to the dark side. Force invisibility. Hi, Mona. Okay, let's read some more. And if you're wondering why Mona has the cool green text, that's because she's a member on the YouTube channel and a patron. So please do consider becoming a member if you have the money. In a way, the pendulum of a clock, if you're looking straight or perpendicular, represents a standing figure without movement. It is static, it's stopped. So that's what these figures were trying to say. This is a static position. There's no movement here. And then we're going into the imbalanced pendulum movement, which will be when the body is in action or in movement. So it is static, it's stopped. So is the clock. But start the pendulum swinging, and it describes an arc moving back and forth, but always about a fixed center of gravity. The position of the pendulum, when at one or the other extreme of its swings or arc from its center of gravity, represents the extent to which a figure may be thrown out of balance. And this position would also represent the greatest rapidity of motion in the drawing of a figure in action. Yet even in the most extreme motion, there must be a sense of security, a feeling that the figure, like the pendulum, could come back to a fixed center of gravity. This feeling or sense of balance, which must be recorded in the flow or sweep of a drawing, is continuity and rhythm. This is a little bit complex. And I'll try my best to explain it. So you have the clock here. I can't draw clocks. And you have the pendulum like this. And the pendulum can go in, let's say, this arc. Okay? So in the same way, and this is just a way of thinking about it. So in the same way, and if we start with the very simple... If you remember, this figure, we start with the main... the main static, or the main... Now I've forgotten the word, so let's just continue. We start with the main static masses, and we draw them in. Then in the main... in the main... three main masses of the body, we see that this is going to be out of... this is going to be out of balance. Then the body has to adjust to sort of not get too much out of balance. So you have to create, just like the pendulum here, you have to create sort of an arc of movement where you can go thus far, but not any further, otherwise it will start looking like the body will be falling. And you can use some of those falling positions, especially in things like superhero comics and in manga and stuff like that, in the extreme motions, in the fast motions, you can use some of these that are way too out of balance. But if this... here is the figure standing, here we have a clock, then the pendulums can go thus far, but if it goes further, then we will have trouble believing that the person is standing, so that will be a falling person. So if we get this person even further down here, then it looks like he's falling. So the pendulum is sort of just representing the... I got a message, yes, probably. But I will not check my message now. Okay, so now that we've looked a little bit at that, let's draw some of his examples and you can draw along. So the text in this book is a little bit hard to understand and it isn't always presented in the order that would make the most sense if you actually did this as a class. Okay, so now first we're going to start with these two figures because they are... Okay, what do all these figures have in common? From what we've said on the previous page here, what do all of these figures have in common? All of these figures you see here have a straight center of gravity. Okay? You should write a four-dummies guide. Maybe I'll... One of the things I can do... We'll see, but make some videos where I actually talk about it, where I actually write more specifically about it. So all of these are in balance. And then we'll go to the next page. Also, all in balance... Huh, yeah, all of these are in balance all the way through. So we'll not be doing any... I got another message. We'll not be doing any figures out of balance today. So even though these figures are standing in different positions, they're all standing in positions where you could stand theoretically a long time. This would be hard. This would be hard and this would be hard. Even these are positions where you theoretically could stand as a figure drawing model. Okay? And if you are an artist who uses figure drawing models and go to figure drawing classes and such, I would actually recommend trying to be a model yourself as well. Not only because then you learn how to treat models and how hard it is, but also because you learn so much about the center of gravity and about the natural positions of the body when you're forced to stand in a position for one minute, for two minutes, for 20 minutes. Any position, no matter how... Oh, you can't see my art. Any position, no matter how comfortable it seems, after 20 minutes of sitting or standing completely still, your body will ache in ways that you didn't think were possible. Okay? So that is a good exercise. And it's also a good exercise in just getting over your shyness and inhibitions, because it is weird to be a standing model in front of a class of strangers. Okay? Or un-strangers, even. This is brilliant. Thank you! And don't be afraid to interrupt and ask questions if something isn't clear or if I'm fumbling something or if something needs more detail. This is brilliant, is a good comment. So I'm hoping that means that this is understandable, at least. So let's do this guy up here. And let's remember how we learned to do these figures. You're so inspiring. Thank you! We learned to do these figures with the masses of the body, the static masses. That was the word I was looking for earlier. Let's do the static masses first and try to measure the complete height of the figure. So make an opening at the top and at the bottom. And even in this position where it's standing basically upright, okay? When you're standing basically upright, you're still having to shift your gravity slightly forwards with the head and backwards with the back in order to compensate for just the arm. So if I go back like this, naturally when I take the arms forward, I want to move the back slightly back. Move the back slightly back. Because that's more comfortable. So just impulsively you do these things to balance with your body. What advice do you have for someone who's trying to get back into art drawing? I used to be really good, but that seemed to have faded. Just jump in again. What you will find is that... Sure, some skills might have faded, but that's usually just rust, so to speak. So you might be rusty, but you will probably re-learn the art much faster than you learned it the first time. So instead of using years to get to the level where you're really good, you will use weeks or months tops. Just start again. Just jump into it. Be comfortable. Know that it will suck at times. Know that you might hate parts of your art. We all do. Know that it will get better. And also, at the same time, try to have fun. Your ink art is fucking badass. Thank you. If you have other questions, I can try to answer some of them while drawing. Otherwise, I also have to sometimes actually look at what I'm drawing and think about what I'm drawing and what I'm thinking as I'm drawing this. One of the ways my ways of learning to draw is by drawing badly on purpose. It helps me loosen up. So if you see my ink art, my daily ink monsters, one of the great things about the daily ink monsters' exercise is that a lot of them are badly drawn. I don't mean that they are bad drawings or that you shouldn't like them or anything like that. I mean that in relation to the technical skills I've built up over the years, a lot of the daily ink monsters are only using a fraction of it. A lot of them don't have anatomy. They are weird. They are ugly. Some of them are bad. Some of them just don't work. But even a lot of those who work are really simple bad art, in a sense. And that's why I could do the daily ink monster exercise for three years without break because some days all I had in me was a bad piece of art. Some days you can't really demand something good from yourself. And that's sort of also applicable to relearning how to draw. In a technical sense they are wrong, but bad art has more soul than correct art. Soulful art has more soul. But I do prefer art that has flaws because it feels more human in a sense. And on that same token I don't know if I can find any of the early sketches I did for these Bridgeman drawing classes, or Bridgeman drawing live streams. But I'm liking... I mean these lines are probably in some ways worse and uglier than what I drew then. But I feel warmer and more comfortable with my pencil again because I've warmed up to it again. I mean I... Right now I draw 99% or more of my art directly with a brush in some way with ink, or acrylic, or watercolours, but always with a brush. So doing this live stream was also for me a way to get back into doing pencils. Because pencils is the tool that I've used most throughout my life and it is also the tool that I learned how to draw with. If I had just worked directly with a brush then I would not have managed to learn a lot of these types of things that I put into my more... to my less cartoony ink monsters and ink art. Okay? So this is just a basic build up of one of these figures. I don't think we have to do... Oh, we can do just one of them here and then try to measure like this. This is just to... more easily... This is to more easily see the distribution of the weight. That's why Bridgman in this drawing has made the blocks of the body very clear because they are really... It's easier to sort of imagine the mass of these blocks than once you start putting detail on them. But originally all the drawings start with the consideration of the three static masses. Okay? So we basically did this one on the previous page so we don't have to do it again right now or we can do a little bit more detail here just to make the relationships clear. And remember from the first episodes that we had a side of action and a static side. Then we had a static side and therefore we have a side of action. A static side. This isn't how the body necessarily works but it is a way of drawing a dynamic body. Okay? It's not about just anatomy it's about drawing anatomy. Hey bebop, good to see you. You missed everything important. I think we did like three chapters so probably something important. Hello from Russia. Hello Russia. Hiya from USA. I've never seen a bad piece of art from you your art has feeling. Thank you. I can promise you I've done some bad pieces of art. 100% But you know I appreciate the compliment. You missed all the important stuff. Now I don't think... You can go back and watch Yesterday's Weeks Live. I think these are just illustrating how balance can be how it can appear. These are all balanced shapes that appear in different ways. Okay? You draw a fox, a raven, a musician. I know them. It's just not... It's not just anatomy. With most of my art there is this stuff is underlying even in the stuff where you'd think it isn't. Art is never bad. It's just different and it stands out. I mean I'm an artist. I have to believe that art is bad because bad is an opportunity to get better and mastery is one of the things that drives me to always... I always want to be better. That's why I'm doing this now. And yeah, taste is... All tastes are valid because they are true for the person who feels that way. It's that simple. But still, for an artist there has to be bad art. You can't strive to make good art without having an idea of bad art. I think. Maybe. I might be wrong. These figures on these pages are good. They seem like they don't really have all that much to do with the previous things we read. They obviously have to do with balance. The thing that makes them useful which should have been explained in the book is if you start applying the things that you learned previously and see how it goes. So if you start applying the previous lessons to drawing these, then you start figuring out things and finding out why they are included in the book. There was this one thing I heard that helps you find your taste in art when you go to an art museum pretend you're going to buy something from there. I don't know if that would work. It's an idea. Maybe I should do that but the instinct was very skeptical when I read that. Do you have any good advice for practicing circles and ellipses freehand? Yes. Or get a paper with squares on and they have to be square and then draw circles inside and then try to do the same without the squares. You can start working bigger and bigger. That is something I definitely need to do more of. I'm not an expert circle drawer. Could you please draw for me a Rasputin elbow dropping Abram Lincoln on the top rope. I will be doing a post asking for ideas for the next Thursday stream. I will probably do that post tomorrow or something. I was supposed to do it today but time flies away so suggest that and if you suggest that on the post I would most likely put it in because that sounds an awful lot of fun and it would be good to do something. I would probably do that cartoony. It also sounds like something that might win. So try. I'm not saying that you should post it on the post just to get you to interact with the page. That's an added bonus. I get at least a few dozen suggestions for what to draw every day. And even good ones they fly away. This one was cool. I'm glad we share a passion for wrestling. I am going to definitely do more things related to wrestling. I have deep fascination for the art of pro wrestling. And it's lifelong fascination. So this is sharpened with a razor blade or a sharp knife. And just do it carefully. The reason why you do it like this is to now I didn't pay attention to what I was drawing the reason you do it like this is basically to have less control. There is no point if you're holding it in comic book style. There is no point to sharpening the pencil like that. Most of my life I've trained holding pencils comic book style. But if you are holding it art art school style then you have a lot of variety and control with a long tip like this. Are you going to post another vid about goblins? I haven't finished another vid video about goblins. I will probably get into more goblins at some point. It's not one of the scripts I'm working on right now I can say. It might take a while Have you ever tried Indian food? I love Indian food and I never get to eat much spicy food anymore because none of my kids nor my wife likes spicy food. There we have it. Shall we do one more chapter? The way I choose videos is mostly by inspiration and is what I can write a good script about before I lose the passion for it. That is a hard thing going I want to move towards doing more long form scripts but it's harder to actually finish a video when it's long form. I play a guitar and I sing a little Shall we read the next chapter? Rhythm. The consciousness or idea of rhythm cannot be traced to any period or to any artist or group of artists. We know that in 1349 a group of Florentine artists formed a society for the study of the chemistry of colours, the mathematics of composition etc and that among these studies was the science of motion but rhythm was not invented it has been measured motion of the universe since the beginning of time the rhythm in the movement of the sea and tides, stars and planets trees and grasses and clouds and the thistle down what is this thistle down? I don't know it is part of all animal and plant life it is the movement of uttered words expressed in their accented and unaccented syllables and in the grouping and pauses of speech both poetry and music are the embodiment in appropriate rhythmical sound of beautiful thought, imagination and emotion. Without rhythm there could be no poetry or music in drawing and painting there is rhythm in outline, colour, light and shade. So let's we'll go back to this point but let's try to make what Bridgeman was saying a bit more clear there. So you for some of us seeing the world and thinking rhythm is very natural. For me I see and perceive rhythm in everything and it can be a beat or it can be a movement of weight it can be basically any aspect where things go in and out of balance I guess would be what I conceive of as a rhythm and you can see it in everything and what Bridgeman is trying to say here is that in order to make something beautiful and by beautiful we can mean basically anything it doesn't have to be beautiful but in order for something to be let's say meaningful it needs to have a rhythm that rhythm it can be like if you go like this you can have things that are offbeat that's the part of the rhythm we were talking earlier about art needing flaws and a lot of these flaws are simple breaks from rhythm so we could in a sense we could talk about it more as groove rather than rhythm it's not about being on time doing everything correct it's about the natural flow of balance out of balance, right, wrong beautiful, ugly saturated desaturated dark light it is about all of these contrasting things and finding the ownership of how they move around each other you can think about that in composition in movement, in color, in storytelling in everything it's a bit of a heady topic I guess but if you are an artist or a writer or form of creative person or even if you just are a person and you don't think of the world in a rhythmical way try it out try to go out and see the rhythms feel the rhythm of your body of your breath, of the wind of the birds of the sun and the moon of the clouds and also of art and it's a way of perceiving the world that is useful to at least have some familiarity with and to apply to your art to create rhythmical art in a sense does that make sense? the slow motion picture has given us a new appreciation of the rhythm of all visible movement this book was written while film was still relatively new I think this was in the 1920s and apparently slow motion pictures was very new and by slow motion I think that maybe he could even be talking about something like Edward Mewbridge books of just stills of people running and walking and horses and all of that stuff so yep but that was new at that time in pictures of Paul Volt or Steeplechase we may actually follow with the eye the movement of every muscle and note its harmonious relation to the entire action of the man or the horse so to express rhythm in drawing we have to have once again so to express rhythm in drawing a figure we have the balance of the masses a subordination of the passive or inactive side to the more forceful or angular side in action keeping constantly in mind the hidden subtle flow of symmetry throughout ok let's try to apply this again a little bit heady but let's try to apply it these two are beautiful let's start with this one and just do the simple boxes first as we think they are if anything is unclear again just comment and I'll try to make it more clear ok so we'll just have these very simple shapes ok and we'll do the other figure in the same way just to be able to think about them simultaneously and also to see if there are rhythms between the dancers not just in each of them ok so you have the main masses of the body something like this I will make this one slightly shorter hey great to see you great to see you Don lost my train of thought so now that we have the basic shapes of these let's try to find the rhythms and again find the action side here this side love the dancers yes it's a beautiful drawing this is the action side which means this is the passive side and again this comes the active side which means that even though you could have drawn the leg here like it was like the muscle was bulging but instead we're we're drawing it more smoothly because we want each part to go from being an action side with loads of jagged edges to a passive side with not so much ok again here is the action side there ok and then neck up a little bit like this and with the head you don't really get that much of action side and passive side but in just twisting the head you can make these shapes dynamic and then very still underneath there ok and then again we find the action side on top of the arm and then it's smooth there's a W rhythm yeah where do you see the W rhythm is it here in the hands or is it all the way because there is this type of W again and again or an M even again in Bridgeman's drawings so one of the things we talked about the rhythm and the balance and about placing characters out of balance and if you read the Conan comics drawn by John Bushima or any of the other Marvel comics he drew you will see that he is definitely of the Bridgeman school but he takes a lot of these things these ideas of rhythms and balance and starts applying them to the very exaggerated movements and figures actions of Jack Kirby so what he's doing is he's Bushima really bends and breaks anatomy he bends and breaks balance he cuts of rhythms to make the whole rhythm of the comic book page the storytelling work and that is the genius of Bushima gotta go to bed have serious jet lag have a nice sleep thank you for joining and thank you for joining is Donna still in the chat in that case I have to say that I'm just more than a little bit jealous of Scott for having someone to read the chat and ask questions and interact while Scott is drawing it is such exercise in balance actually in mental balance going from from chat answering questions back to the text back to the drawing trying to keep it all in mind how to fight burnout even when I have projects do that is a interesting question probably deserves more attention than I can give it while drawing but I the best way I found to deal with with that is in periods where I have really tight deadlines a lot of pressure no time for anything I start giving myself I start setting alarms like every 25 minutes now you have to go up loose just stop everything you're doing pause for a minute or two move your body sit down again and you know force yourself to take breaks because if you don't take the breaks you will get sloppier and sloppier and do more and more mistakes and yeah so it's a bit counterintuitive but let's find some paper here it's a bit counterintuitive but you have to have breaks in order to keep working why do sharpen the pencil that way it's just one of a few ways to sharpen a pencil this makes it easier to hold it down here you get a different sense of control I mean holding it like this like comic book style is you get more fine control holding it like this you you don't get more control but you get you get a flow and you can also use it in different ways you can go almost completely at the side like this or head on it's just a different way of holding the pencil I've always worked mostly in the comic book way so this is relatively new for me and there's a few times in life before so it's not something I've never tried but like 95% of all my penciling is probably with the comic book style holding of the pencil and right now it just felt like something way out doing more and I'm loving it I've probably not given it the proper chance before so yeah again we're going through this figure we're finding the action side and then that leads into the richie side that leads into action side action side, passive side and now I'm exaggerating this a little bit just to show here you get the passive side again active side, passive side okay and this is just a way of thinking about rhythm in the figure it's not I've said this, sorry if I'm repeating myself but it's not a question of how the body actually works it can work like this on certain occasions like if you're trying to show off your triceps then your biceps will get to be in the passive side so it does work like that in some sense but it's not sorry I keep getting the art out of view I need to I need to get a better setup for my whole streaming so that I can monitor all these things by myself and here is the same figure as on the other page and here is an interesting exercise where let's make the main blocks first and now I'm just making it more difficult for myself by doing the blocks but let's do it like that and then you start throwing in these rhythmical patterns I'm going to read the comments and just have to keep yawning detail into this one here you see something special that you see Bridgeman doing he's shading here and shading here has that got to do with the light well sort of but he's choosing to see the light in places rhythmically dark dark dark dark because it's light light light light it's manipulating manipulating the light if Scott Sava was here he would probably hate it because he's a sucker for lighting I learned last time I listened to one of his streams and here we're just messing with the lighting we're not doing anything accurate we're just placing it to get the rhythm we need going here harsh here let's try to draw ourselves on our neck with a pen why because why not I'll answer these comments and then I'll get back to the point I'm very heavy handed with my drawing when drawing like a pencil so maybe it will help loosen my drawings up more if you are too heavy handed you should do scribbling exercises which you can do like this and just scribble for 20 minutes a day something like that my biggest weakness art wise is that I forget to think as I'm used to working very intuitively so that is probably often more of a strength than a weakness art wise it is very hard if you are very unintuitive with your art if it's all very schematic then I think you're probably making it harder for yourself but learn some structure and get some tools to help you take breaks and to think and assess during those breaks that would be my advice so let's find these rhythms here we're doing not caring about how it's supposed to look we're just trying to get the rhythms down so this is action and dark, this is light and in action and then down here we get dark again which means here it's light again and here it is the light shape which means here it's the dark shape I think that even with very sloppily drawn figures like this there is such a beauty in thinking about rhythm that way no problem fiddle wheel X let's do a couple of things from the next page and then we end before turning and twisting so we do turning and twisting next time and here it is just showing the flows of lines together and then you start combining them you combine them up to the figure and when I'm doing what fiddle sticks fiddle wheel, not fiddle sticks what fiddle wheel said about being used to working intuitively the idea here is that you study and learn these things so that you do them intuitively so you're doing the study in order to not have to think so when I for instance when I go out and draw metal concerts I'm doing a lot of these things but never once have I stopped myself and thought what would bridgeman do if I stop and actually think about what I'm doing I'm probably going to mess up the drawing in a pressure setting like the drawing live concerts yeah this is interesting if we go back to where was our previous drawing my mind is all over the place now when I'm doing my ink monsters I'm doing a lot of these types of rhythmical things but never once am I saying gotta go it's 1am here have a good night so never once am I saying to myself I need to make sure this has the right rhythm I'm not ever in the art stopping thinking like if we're analyzing this figure here we're going like it goes this way that way that way and we're making this sort of accordion of the figure but when I'm drawing like something like this or yeah I mean you can look at this this composition is imbalanced it's all on this side I don't know if I like it because of that so let's not analyze that action side in action side action side in action side action side action side let me see if I find another let's do one of the cartoony ones action side in action side rhythm pretty much there not exact and I was a little bit scared that I would start drawing on the drawing but you know so all this work practicing these things is so that you don't have to think about them and that's why it's so useful to go through these books again but with you guys this time because if I read this book by myself again I would probably skip 90% of it because I've internalized so much of it but what happens when you internalize things is you also start putting your own problems in so let's do these rhythms it's like music it follows a subconscious rhythm sense yes and I mean there are composers who sit down and think here we have to use this kind of scale and then it has to go into this kind of thing and then it has to go into this kind of thing and that can be very useful but doing it by feel is pretty cool as well it is in a sense not easier that way because making good music or making good art is hard no matter what so it's not easy but part of me really doesn't want to continue my current drawing session why not? I'm thinking of songwriters like Kurt Cobain for Nirvana he definitely did it intuitively but there are some complex chord progressions happening in those songs at the right places to elevate them from other which is most of Nirvana stuff is basically 3 chord or 4 chord punk that's all it is but there are these small touches that's taken from stuff like Beatles and stuff like that and just elevate it also with anything I mean in Black Sabbath when they, if you listen to the first Black Sabbath album there are parts, there are songs that are almost impossible to play along to because the guitar and different parts of the song are tuned differently and the reason for that is that nobody had taught Tony Iommi and Giser Butler how to tune to a note, they just tuned to each other each time so the guitars came if they recorded one song over two days the guitar would be slightly different tuned and that is such a basic thing that you think oh everyone should know that but god damn it they knew so much more that was more important as well that is intuitive and I want my art to be intuitive in that sense now I'm just playing around with the rhythms here and there's so many different that can be rhythmical or offbeat even just playing around I don't know the part that I'm working on is really repetitive and tedious parts of art is repetitive and tedious and the question is if you stick to it will the repetitiveness and tediousness disappear in the finished work and become a part of the bigger rhythm and make it all worthwhile oh we can't see the side of the paper sorry that was my last sketches for today because now it's the next chapter and I'm out of steam I will try to figure out a way so that I can show you what I'm drawing all the time not have it all the way over here sorry about that I'm still figuring out this streaming business sorry I'll get better I think there's a lot of stuff that was better this time than last time so we're heading in the right direction most of all I'm using my phone my new phone to film the paper and I'm using my DLSR camera to film my face so the face has more depth and definition and the paper has more clarity so that is much better than how it was my face was crystal clear and the paper was slightly out of focus so it's all good I'm trying to get better at drawing and I'm trying to get better at streaming and I'm trying to get better at talking and I'm trying to get better at all of these things at the same time what paper do I use for my ink drawings so a bunch of different ones but I can show you one of the ones here this is Fabriano white ecological artist paper I bought it because they didn't have the stock I usually use student grade paper it says artist paper so maybe it's artist grade doesn't matter I usually use student grade paper 200 grams and up with a bit of tooth, not too much Fabriano it makes great papers Figura makes good papers I have a bunch of other papers depends on on what they have in stock at my local art store and if you're for instance in the United States then your art supplies will be different you will have a lot of Kansan and a lot of other brands that I'm not that familiar with I thought the stream was fine, just paper was slightly off sometimes yes I need to figure out how to do that better I'll probably just zoom out the camera a little bit more I have that book too I should do this along with you next time go through the first four episodes and draw through there and then join us next Sunday for turning and twisting I think that's all I have Are you going to do this tomorrow as well? No, I'm going to be streaming next time I'm streaming is on Thursday then it will be a draw what stream where you can request art for me and we can draw stuff like the Anarchomancer and also Sawings the Stupid Dragon we drew on last on the last draw what on Thursday and that is Thursday at 1900 hours GMT plus one and then on Sundays we we do the art learning maybe some red tape to show you where the edges of the camera is that is a great idea mind blown but that's sort of something that's important to underline is that there are a lot of things with how I'm doing streaming with how I'm doing YouTube editing all of that stuff which takes a bit of time for me to figure out and one of the reasons is that I'm doing so much other stuff I'm making so much art, I'm writing I'm planning other things and when you are doing too much stuff then learning takes time so if you're trying to learn how to draw anatomy and you have a job or school or kids or other projects these things stack up and that makes it harder to learn and that makes the learning process go a little bit slower and you know if I had sat down and thought about ooh how can I make sure that my drawings don't go out of the frame I probably could have thought of something like red tape but getting the time to sit down is hard and that's the same with everything when you're learning something you need to take those breaks red tape or hmm yeah maybe I could draw like this instead you need to sit down and take those breaks and think about even if you're working intuitively once in a while think about what you're doing, what you're working on in order to progress Thank you all so much for joining the stream remember to go to patreon.com or send super chats or go to buy originals prints and merch and if you can't afford to support in any of those ways you can afford to support by using my art all my art is available for free so you can download it, you can print it you can change it, you can send it to your long lost niece you can even sell it as long as you put my name on it and that's supporting me as well Thank you all so much, bye bye