THE BASICS: Your three best friends-Cube, Sphere, Cylinder

Summary

Today's lesson focuses on understanding the basic shapes crucial for drawing: the cube, sphere, and cylinder. These shapes are foundational to depicting three-dimensional objects both from observation and imagination. The video aims to teach viewers not just how to draw these shapes, but to understand their significance in art as building blocks and how to apply them using different materials. This introduction is vital for developing skills to tackle more complex compositions and improve one's drawing abilities.

Highlights

• The cube, sphere, and cylinder are fundamental shapes for artists, acting as the basic building blocks for more complex figures 💪.
• Learning to differentiate between two-dimensional shapes (circle, square) and their three-dimensional counterparts (sphere, cube) is crucial for realistic drawing 🌐.
• Practicing drawing these shapes helps improve hand-eye coordination and artistic confidence 💡.
• Using contour lines, you can give drawings a sense of volume and depth, transitioning smoothly from 2D to 3D concepts 💫.
• Experimenting with various drawing materials can offer new dimensions and textures to your art, enhancing creative expression 🎨.

Key Takeaways

• The cube, sphere, and cylinder are essential shapes in drawing, serving as the building blocks for creating more complex forms 🏗️.
• Understanding the difference between 2D and 3D shapes helps artists create more realistic and dynamic drawings 🌟.
• Practicing drawing these basic shapes in various sizes and perspectives enhances one's skill and confidence in handling more complex compositions ✏️.
• Mastering contour and cross-contour lines is crucial in transforming flat shapes into dimensional forms 🔄.
• It's important to experiment with different drawing materials and techniques to find what works best for you 🎨.

Overview

Today's video from The Drawing Database at Northern Kentucky University starts off with an emphasis on the importance of mastering three basic shapes: the cube, sphere, and cylinder. These forms are considered fundamental to developing one's drawing skills and understanding the spatiality of objects. We are introduced to these shapes not simply as drawings but as concepts that are critical to recognize and understand in both practical drawing applications and theoretical art studies.

The video progresses by explaining how these shapes form the basis for understanding and drawing all other shapes and were essential, even as far back as the Renaissance, in helping artists depict realistic and three-dimensional images. By understanding how to manipulate and transform these basic shapes into more complex forms, artists can broaden their skill set and adapt their technique to different styles and mediums. This part of the video underscores the continuity of these fundamental shapes across history and art forms.

Finally, the lesson delves into practical drawing techniques, focusing on using cross-contour lines to add volume and depth to the drawings. The importance of practicing these shapes in various sizes and contexts is highlighted, encouraging students and aspiring artists to use these basic forms to explore their creativity while gaining confidence in their artistic abilities. Engaging with different materials and approaches, as demonstrated, is vital to develop a personalized style and enhance one’s artistic expression.

THE BASICS: Your three best friends-Cube, Sphere, Cylinder Transcription

• 00:00 - 00:30 okay today's lesson is going to be about the very basics of drawing and that is the analysis of the cube the sphere and the cylinder these are your three best friends in drawing so we're going to look at not how to draw them
• 00:30 - 01:00 but why we're drawing them what they look like what we can understand from their three-dimensionality what their two-dimensional grandparents are if you will they're antecedents and then how we can apply them in drawing in the future and we're going to look at cross contour line contour line and a little bit of weight and thickness of light so that as we move forward in the basics series of our lessons
• 01:00 - 01:30 you'll be equipped with the right proper mental conceptual framework as you start to draw a more difficult complex compositions and still lives and setups and arrangements okay so it's very basic but a very important first step in becoming an accomplished drafts person okay all right i'll see you in just a second stay tuned bye all right so let's start out
• 01:30 - 02:00 discussing and talking about the cube the sphere and the cylinder and why they're important okay so the reason why they're important is that they are the if you will the building blocks to every single thing that you want to draw representationally or realistically if you want to use that terminology in the natural world but
• 02:00 - 02:30 also from your imagination and if you like using photographic reference it's going to make those drawings better so it's a combination of all those things that can be enriched and enhanced by understanding the nature between the difference between 2d and 3d so for all you youngsters out there or all you folks that are young at heart out there as well in all various ages and stages in between this is the very basics of the beginning to learn to
• 02:30 - 03:00 draw better and to draw with more purpose in more polish writing professionalization so let's take a look at these forms and let's see where we get these forms from okay so the first one i want to talk about and demonstrate a little bit and by the way today i'm going to draw in in different materials i'm going to draw a big for a while then we're going to switch it up draw smaller
• 03:00 - 03:30 and draw different materials and do different little procedures to show you different ranges of drawing and drawing materials and also by the way be careful of any body or any school of thought that tells you how to draw something i think that there are a multitude of ways to draw anything both representationally and abstract in
• 03:30 - 04:00 all all areas in in between there and conceptually so what we train i train my students to be is to be very open and broad to different approaches and take bits and pieces of all of them and apply them to how they want to draw okay so be careful of that be mindful that so the first shape we're going to look at is the circle so the circle is that perfect three-dimensional form notice how i draw it now i'm drawing with the palm method
• 04:00 - 04:30 and i'm taking a very loose approach to drawing the circle and i'm going to tighten it up a little bit so i'll label it the circle everybody knows that you know that from the time you're a very young child right you got that it's not a problem but drawing the circle can prevent can be difficult so as you're drawing it you want to begin
• 04:30 - 05:00 to think about all pies are equal so do a lot of practice of this meaning that draw a lot of circles and see if you can make all four parts of that division relatively equal don't worry about if you get it lopsided sometimes or it's got like a growth on one side of your of your circle just practice a lot and it gets better i've done hundreds thousands of
• 05:00 - 05:30 circles to draw a circle pretty well pretty easily so that's our first grandparent to our our more complex forms and these are all 2d all right they're two dimensional okay they're flat 2d and flat so the next shape we'll look at that will transform will be the square
• 05:30 - 06:00 meaning that all sides are equal to one another okay so we've got this square here right of course you could do that with the ruler but i'd like you to freehand it as much as you can and we'll do something with the ruler too as well so all these sides are equal and they're straight vertical means that meaning that they're parallel to the left into the right picture plane but also to the top into the bottom picture
• 06:00 - 06:30 plane and so another way to check yourself the best you can is are all four sides relatively equal so that's our square okay so it's flat just as the circle is flat that's the square we all know those forms from you know pre-kindergarten right so those are either 11 12 13 or younger or young and hard you know all these these shapes but drawing them is a little a little bit different a little harder
• 06:30 - 07:00 okay and then the last shape i want to look at for now is the rectangle and i'm going to put the rectangle here so like the square we start out with that horizontal straight line and then i'm going to bring down some verticals here in here notice i sketched out loose so if you get your line way out here that's okay tighten it
• 07:00 - 07:30 up and reconfigure it correct as you go and then i'm going to bring down the bottom tighten up my line to here and through here so there's my rectangular shape my 2d shape so that's my rectangle right there okay so we know those shapes those are our even more simple
• 07:30 - 08:00 elements that we work with you know shape is an element a form is an element so let's take these shapes all right and let's turn them into more complex forms so let's take the s circle and let's turn this now into a ball or a sphere so withdrawing the sphere it's just like drawing a circle
• 08:00 - 08:30 okay and we're really not going to talk about light that much even though i might use a little shading we'll get in that in that idea range at a later time so when i draw the sphere i feel my way through it then i tighten up where i'm it feels all along it feels irregular it doesn't feel correct and i do that by judging it by stepping back and looking and by judging and trying to just
• 08:30 - 09:00 practice as much as you can so the biggest difference now is that we want to stop thinking about flatness all the way across okay and we want to start thinking about roundness in volume in three dimensionality go for the 3d so we want to start thinking about this
• 09:00 - 09:30 idea turning around and coming back over we want to think about it moving across like a globe so everybody knows what a globe is the earth or the moon or mars now or saturn the rings of saturn we want to start thinking about this idea as we move across a form this is a big jump in your thinking
• 09:30 - 10:00 and if you like comic books or if you like anime you like animation these are the building blocks of that field so be careful also out there of style if you're a kid if you're a youngster and you like anime and you like comic books if you're copying a style fine but it's better to draw volumes and solids and it's better to draw
• 10:00 - 10:30 these elements before you get all mixed up into style style can be misleading and so what i'm showing you now is this idea of cross contouring around a form so look at the difference between flat here flat across a flat shape no matter which way we go i can go up and down with it
• 10:30 - 11:00 so that's a flat movement it's a vector right it's just two-dimensional it takes into the horizontal and the vertical but here with the sphere we take on the 3d we take on depth and dimension dimensionality so very very important so i'm going to throw this ball now and give it a little bit of a shadow here okay put it on the ground and maybe i'll throw a little form line
• 11:00 - 11:30 on it so you can see it too as well right in through here without knowing a lot about light in value and edges right now you may or may not but look how we can start to make that dimensional so the difference between the 3d and the 2d the round versus the flat is so very important i can keep coming
• 11:30 - 12:00 around with my line work coming around going darker maybe on the edges as it turns in lighter in the middle with where i have that light and they can turn around and go back over and we can think about the back side because now we have a back side of our form not just a flat chip but now we have
• 12:00 - 12:30 a three-dimensional ball that we can start to understand and start to manipulate and work on okay all right so let's go on to the square so from the square what do we get well we get the basic cube form okay we go from the square to the box and so now
• 12:30 - 13:00 we're not even talking about perspective some of you probably know about perspective i bet you know a lot about it and so we're not necessarily talking about that yet we're going from the box form here okay all sides are equal all sides are parallel then we're going to say let's see this box when it's around our eye level
• 13:00 - 13:30 okay so maybe our eye level is right in through there or that line coming across that means we won't necessarily see the top or the bottom but we are going to see depth dimension three dimensionality which is what we want to start to practice now okay and so now we start to feel this and we start to feel this
• 13:30 - 14:00 going back into space look at that all right so we're moving the side now seeing the right side of the box back into dimension in space pretty exciting idea here we don't we just see a series of flatness it just stays flat 2d there's nothing wrong with drawing flat too by the way
• 14:00 - 14:30 but we want to be i want you to be my students in youtube land we want you to be versatile and so we'll talk about the 3d which is harder for sure nothing is easy in art so now what i can say is let's say let's end our box here look at that and so now we have depth and dimension we have still have that front plane right moving across horizontal
• 14:30 - 15:00 but now we have watch this if we cross contour we have this plane moving back in space look at that from there to there look how we can feel that force and movement by drawing contour lines you can draw as many as you want
• 15:00 - 15:30 and look at that depth and dimension now i can throw a little bit of shadow tone on it and look how we have now even more feeling of roundness very important
• 15:30 - 16:00 concept to getting the 3d so we went from the 2d and now we just went to 3d three dimensions you can pick it up you can make it feel like you can pick it right up off the piece of paper which by the way is pretty flat okay it does have a thickness there's a thickness behind the easel i've got a drawing board up here it's a little thickness but for the most part with our piece of paper or papers we still think of them as flat even though they're technically not necessarily they've got a little
• 16:00 - 16:30 thickness on the side but there's still a flat surface by and large and so now we can we have created for ourselves the illusion right of roundness of volume and dimension so you for you parents out there that may be watching along with with your your youngster your children practice it practice it all the time just practice a circle a square a rectangle a sphere
• 16:30 - 17:00 a box and then we're going to talk about the cylinder do that over and over from now until your maturity and you will be served really well in terms of your understanding of the model the figure if you want to draw dragons if you want to draw japanese anime it doesn't matter what you're excited about if you want to draw flowers if you want
• 17:00 - 17:30 to draw like or vermeer or rembrandt or rubens this is all where everybody started so now look at that see i could throw a little background tone on the other side and look how i can make my box really start to pop out so that's another term artists use is we'll call that pop pop pop bang
• 17:30 - 18:00 is pop out like you're emerging from the page like a jack in a box boom and you become three dimensional three-dimensional okay let's take now the rectangle and let's make it into something a little bit more powerful and that is the cylinder let's take a look at the cylinder that's another important form
• 18:00 - 18:30 to draw so we can start out with the cylinder drawing it the same way we did with the rectangle okay so we bring down our bottom right angles here there's a right angle there 90 degree angle okay later on that can change so there's the basis of our cylinder right there
• 18:30 - 19:00 which was the rectangle but now let's introduce another concept let's introduce the concept of the ellipse i'll put it over here the ellipse okay not a lip or lips but the ellipse this idea of what used to be a circle but now we look
• 19:00 - 19:30 at the circle from depth and dimension different eye level and now we have a curve to our forms now we have well that's a cylinder and we use this guy here or this girl here if we use the ellipse so how do you do that well you need to draw a lot practice but if we put the top on our rectangle or our can
• 19:30 - 20:00 okay whatever your favorite soup is or your favorite canned product if you still need from a canopus uh we put the ellipse on there so now we have look at that the ellipse to work with and getting these rides a little tricky and we're going to talk about that further and we'll do a section just on the ellipse too to see more about what what's going on with that so now i'll go back and reconnect
• 20:00 - 20:30 the sides of our rectangle and we'll bring down the bottom of the ellipse so i like to leave this line that tells me about where i need to go here in here or bring our curve by the way this curve on the bottom is always going to be a little bit more curved just slightly more than the top wide because we're looking down
• 20:30 - 21:00 on this area more so than this area your eye is closer to that ellipse or that top than it is the bottom okay so we have the bottom of the ellipse here curve that nice and curved in through here and then we're going to bring the other side as if we can see through it like it's a glass of water bring the other side of the lips over
• 21:00 - 21:30 and look at that you've got the back side of the ellipse here even though you don't see it here because we're seeing the top of the can here of the cylinder here i'll put a little shading on it you can do that with me and here we're looking through okay so now we can feel again this what does that remind you of where have
• 21:30 - 22:00 you done this before well you did it with the spear so you have another rounded object so we went from that flat vector two-dimensional horizontal vertical kind of feeling right to again this 3d rounded feeling round it out keep it round keep it going
• 22:00 - 22:30 and you can cross contour by running your line across look at that cross contour so we feel it's the idea an artist to start to feel it no intellectually but also there's this idea of emotion and feeling and also feeling form feeling the 3d you're 3d in the 3d component and look
• 22:30 - 23:00 at that look how that turns and it gives you that nice idea now i could put a little shading over here if i wanted to it could go in either direction and shade it i could throw a little cast shadow here
• 23:00 - 23:30 and there you go you get 3d quality that we as artists and designers and sculptors and professionals and beginners and intermediate and wherever you're at yearn for yearn for the next step in our development so we spent a lot of civilization just dealing with the flatness and then the greeks came along romans
• 23:30 - 24:00 came along gave us some roundness then we lost it a little bit in the middle ages in the gothic era and later on we rediscover this in the early renaissance and use these powerful expressive new 3d tool tools to explode our understanding and our concepts of space and dimension and form
• 24:00 - 24:30 with light with value with edges with perspective in our understanding of anatomy and we exploded moved humanity moved the the course of art understanding beyond what we had accomplished and lost but we moved it moved it further and by the way we're still using this today along with a lot of other exciting concepts as well okay so the trick in drawing is to understand that
• 24:30 - 25:00 we're using both the 2d and the 3d so what you want if you're young at drawing out there is that we're not losing the 2d we're just gaining the 3d we're adding to the complexity because the the real i guess the real trick of it is is that you're using both your mind switches back and forth from
• 25:00 - 25:30 the two-dimensional and the three-dimensional very very quickly okay it's a very quick process and the more you draw the more you understand it some of you probably already intuitively understand it but stopping and being cognizant in consciously aware of what your brain is doing visually and how you get form a dimension it's pretty pretty important process okay so
• 25:30 - 26:00 that's the first step what i want to do now is go on to different viewpoints different materials and let's just go a little bit further let's explore faster and what we'll do is we'll explore different viewpoints of the sphere the cube and the cylinder and we'll look at the cone and maybe some other forms that will just kind of explore makeup and we'll just see what happens okay so stay tuned i'll be back and we'll do some more drawing together okay
• 26:00 - 26:30 okay let's get started so i want to show you my setup a little bit before i kind of pull in sometimes you can't see that and the reason why is uh i think it's important how you set up your drawing and your drawing board so i've got a drawing board here it's about 19 or 20 inches by 24 inches and what i do is i tape down my edges and you can use all kinds of
• 26:30 - 27:00 different tapes i just like the the alvin drafting dots here you'll probably see them quite a bit and i tape them to just the corners of my paper so there's really no need to tape your entire edge or your entire border i think you're just going to waste tape unless you're masking off something for some kind of effect which you can do later on maybe with the more specialty paper but for now uh just if you will mask not mask off but just tape down the
• 27:00 - 27:30 corners and also i've got about four or five or six sheets of paper underneath so i never draw right on top of the wood of my drawing my drawing board you might ask me well okay mark why well the reason is the wood is naturally it's as it's as hard as my head and meaning that it is uh naturally very very hard so it's hard to
• 27:30 - 28:00 get soft gradated value edges and switches so i'm going to bring this drawing board up closer to you you can see that this has a metal edge to it which is really nice so this drawing board is hollow on the inside the wood is hollow and it's got cardboard slats in between about the inch thickness of it which makes it very light so when you're traveling out about you can carry your drawing board with you and it's not such a cumbersome process so if
• 28:00 - 28:30 you use say for instance three quarter inch plywood boy that's really heavy and so i tell my students here at the university and beyond is to be good to yourself be easy on yourself and use something that's a lighter now you can use foam core rigid foam core would be fine you can use masonite which is fine i just prefer these because they have a metal edge to the side and then also they're just super super light now lastly i also put a little door
• 28:30 - 29:00 handle on that so i can carry these wherever i want and you can look really stylish walking across campus i don't know about stylish but i do know that they're nice and effective so just a door handle from your local hardware store a couple of screws screw it right into the side and you can carry it nice and clean and i think a lot easier than trying to put it under your arm especially if you're
• 29:00 - 29:30 smaller like me or if you're you know a younger youngster and so i think that's harder too as well okay so that's that i don't like clips on the side when i'm drawing run into a big clip sometimes i do that when i'm projecting an easel just for now because it's quicker and easier to change paper uh when i do long-term stuff for myself i don't generally ever have obstructions uh in my way
• 29:30 - 30:00 okay so uh let's zoom in here now a little bit and let's talk a little bit deeper about a spheres let's start out with the uh the fearless sphere and how that is super cool i think and super super duper uh important so you know a lot of times students will say gosh how did you how did he whip out you know that circle so so easy well you know one of the one of the things is
• 30:00 - 30:30 when i'm drawing is notice how i'm moving my arm my hand and my arm my wrist around i'm not drawing a single thing i'm getting a feel for what i want to do with it and then i start to move it around and so by the way i'm using an ink micron pen the coptic pen i think it's the sanguine and see how i'm feeling my way through the sphere okay and i make my mistakes and i keep on drawing through it and so
• 30:30 - 31:00 don't even worry about it use multiple lines light lines i keep a light touch and there i've got a pretty good circle already to get to the idea of my sphere and i could do some smaller could do some over here the trick is get yourself a sketchbook get yourself a bunch of sketch pads drawing paper notebook paper paper uh newsprint paper i mean or both it really
• 31:00 - 31:30 doesn't matter and draw the dickens out of these that means just draw draw and draw and practice these forms practice them in various sizes notice that we don't really have a direction for any of them so no matter if they're coming towards us or coming away from us the circle kind of looks the same but also the sphere so let's change these circles now into spherical form so i can make
• 31:30 - 32:00 almost an elliptical half of this as if it was filled with water so i can begin to by throwing an ellipse here in the middle show my viewer that hey this has got a depth and dimension here's the back part of the wall the sphere back here where it touches here's the front wall where it touches the ellipse here okay i could do it more at the top up here where you can see it
• 32:00 - 32:30 so we're thinking we're starting to train our brain to think about the circle now as a spherical component see that so i can begin to shade these it's like we're taking a slice out of it it's like water in a fishbowl and i can put together some hatching contour lines and we can start to say this is a round form we want you to
• 32:30 - 33:00 believe that this is round so we've got the cross contouring here up and around and then down and through and around and as they get closer to the edges okay and so i've got a projection up that's much much more greater technical that's been cleaned up computer drawn pad driven so it's like the model of perfection it's almost like
• 33:00 - 33:30 it's too perfect it's not it's not sketchy i like i like things at times not always there's exceptions to that rule but you know i like things that are sketchy too it's that human touch that gives them that lively quality of roundness but it gives you that energy as you draw so you can see i'm drawing the circle here you can draw another circle let me put this top back on cleanly there we go another circle smaller here if you want
• 33:30 - 34:00 okay and let's change them all into spheres so a lot of times if i'm if i'm setting the sphere down on a surface maybe like a table maybe there's a table angle over here i'll darken in the line where it touches anywhere where you have a form touching a surface here you're like these are all touching maybe their own little tables that they're sitting on maybe they're
• 34:00 - 34:30 all sitting on table like like this so maybe it's coming at slide at a diagonal diagonal in an angle i'll put the angle of the table this way like so this has a different different table wherever they sit down on the surface and it touches a very very fine little point of it that's where we get a darker thicker line okay and so they're sitting right in that area and i can throw a little light and shadow let's say my light source is
• 34:30 - 35:00 coming from this direction up here onto the sphere i can throw a little light here if i want a little form shadow a little cast shadow from the sphere it's kind of an ellipse starts where the cast shadow starts where the touch of the sphere hits the table and moves outward depending on the light source it can change its
• 35:00 - 35:30 shape and so we'll give a little light cast shadow there and we'll give a little form shadow here to the right side of our sphere and i can use some contouring directional lines to make that feel a little rounder okay getting through here and already we've got the 3d little highlight
• 35:30 - 36:00 uh kind of area lips can be through there and i can put a little bit of extra cross contouring line here darken that and make a little core shadow out of that and to sit that object down onto the surface of the our imaginary uh white table so here i'll put a cast shadow on the other side and i'll say
• 36:00 - 36:30 the light source will come in this direction i'll use these arrows to say which way i want the light source to come so that means that on our fishbowl we might have a form shadow so a form shadow is a shadow that is made by the actual light on the form itself and it takes on the curvature of the natural form or the if it's block it takes on a more angular form as well but we'll get into that
• 36:30 - 37:00 uh deeper in light and value so i'll just shade down with some hatch lines the form shadow and i'm taking you know great pains to kind of move see how it moves down in this direction it's a good sketching technique to keep them moving and trying to say that they're turning kind of in this way underneath opposite a little bit or in a different
• 37:00 - 37:30 direction than these contour lines okay these are cross contour lines these are shaded hatching lines but they also have if i kept going across contour feel in a different direction and the reason why is is that our ball or our glove it can be cross-contoured from many different directions it can be cross contoured right in this direction if we wanted and
• 37:30 - 38:00 i could even take it downward like so and as we get closer to the middle it just gets it gets almost just straight even though i never like to technically this could be this line here could be straight i always like to give it a little bit of a curve just to make it more more even more three-dimensional give you that quality of or the tilt could be the axis could be here if you will and so your cross-contouring lines could come in this direction all points
• 38:00 - 38:30 are valid right because of the 360 degree nature of the sphere itself when drawing the sphere so it's like oh my gosh that's really technical what you really want to make sure you're doing is changing the circle from the 2d to the three-dimensional okay you're drawing that 2d circle boom light loose
• 38:30 - 39:00 fresh keep it clean don't worry about if you're drawing and it looks like this in the beginning it's like whoa that's a what is that it's kind of a beat up head don't worry about it adjust it draw light loose don't worry about erasing in the beginning maybe you need a drawing pen or ball point pen don't worry about make your mistakes make your 100 hours of mistakes when i was in art school in basic foundations design class i had
• 39:00 - 39:30 to take a newsprint pad of 100 sheets and we had to put two inch lines across our paper all the way from left to write okay and then we had to put a perfect or what we thought we were drawing perfect circle on the bottom it touches on the bottom and we had to leave i forget how much space we had to leave in between okay and so we had to do that on the front
• 39:30 - 40:00 side of the newsprint and on the back side of the newspaper i don't know how many circles we had to draw uh on each side i'm saying probably 40 or 50 times two that say a hundred times a hundred sheets where we you know we had to draw a thousand or so circles as well as we could and so the point of that little discussion was the more you do the better you get at drawing the circle and consequently
• 40:00 - 40:30 the the sphere okay so the ball if i turned it around let's say this way this is curving and going underneath right this is coming back towards us my arrows try to tell us that story you can see inside coming back over feel that that direction and so a lot of times you'll see in cross countering it gets darker as it goes away lighter so if the light
• 40:30 - 41:00 source was here this would be a lighter area okay with me and then it gets darker as it moves away maybe it gets dark right as it comes underneath but right in through here it gets so light that it's broken apart or the line is broken apart and separated that we don't even need a line anymore we just let it break and then it's so dark away from us
• 41:00 - 41:30 that it gets a really thick line and so this whole idea this wonderful cross cross contouring which can take um this kind of kind of approach to it so if i come came back across in this direction maybe this would start to almost right here flatten out okay and it could start the other way
• 41:30 - 42:00 over here and come across and tell us that that's rounder so you know the baseball the basketball even the you know the football kind of shape which gets into slight kind of a modified two cones you know squashed together can tell us a story about their roundness by the type of lines that are carved
• 42:00 - 42:30 onto the surface of the object so you know spatially out in outer space what's the most simple form we have in the universe well it's the planets right so you have you know you have the big sun and then you have mercury and you have venus and you have the earth mars right and then all of a sudden jupiter or jupiter yeah jupiter and then saturn one of probably everybody's favorites with those great rings tends to
• 42:30 - 43:00 you know mimic that and then uranus and then uh neptune or neptune uranus i forget and then of course pluto which i don't think is planet anymore which is sad and then all the other objects out there all the all the stars the suns are are rounded so gravity pushes down on a form from 360 degrees and squashes that material into a compressed ball right 3d
• 43:00 - 43:30 kind of kind of ball so the roundness that you're getting is helps by uh thinking in the round but using cross contour okay and also light or shading or value which is which is light and dark right and also edges which we'll get into at a later time so practice this component practice drawing the the circle
• 43:30 - 44:00 okay religiously over and over again and the more you do you'll get faster and what is the circle the circle is a two-dimensional shaped product remember it's flat across flat okay look at the difference between the crossed contouring and the hatching between these two tells you a very different story doesn't it very
• 44:00 - 44:30 different and so we have the 2d and then we move again to the three-dimensional so we can break these apart so i could break this apart into kind of a little eggshell type form up and through here and so we can start to not draw the sphere anymore we can draw its half and that gives us a three-dimensional story story like we shaved it we cut it in half so i'm drawing the ellipse
• 44:30 - 45:00 and i'm drawing the arc of the back part of the sphere right in through there and then we can shave this or shade it shave it both i tend to think of it comes with some cross contour hatching lines in through there and all of a sudden we get a very three-dimensional looking spherical kind of form based on what we saw here so if i take this and go a
• 45:00 - 45:30 little bit further i can put some more shading here which is called a coarse shadow the darkest part of your shadow we'll get deeper into that a little later so i can make this darker now i'm trying to soften up this movement of light too with a very scratchy hatched oriented kind of drawing utensil right okay
• 45:30 - 46:00 pulling that out and then we could also come to see here's kind of the polar top through here okay there's north i suppose and we could see this back side now if we come through and keep drawing right here here's the fattest outer backside part right in through there so the trick is if you want to draw the figure well or plants or animals or dragons or whatever it is that you want to draw you need to be able to feel them forward
• 46:00 - 46:30 in 3d but also feel intuitively their backs and so see how i draw a very light line this is a probing line and then as i get more confident i'll darken that line up now i want to i don't want to go too dark since we're on the back side of that so i could darken this up the front side more than the back which is the back here to help pull that forward to make this just a little bit darker to see but now this line
• 46:30 - 47:00 in this line in this line in this line are in the back of and coming down through like a globe latitude and longitude of a drawing in through there and i'll take a little bit darker aspect of the sphere here and you can start to see that that becomes even more of
• 47:00 - 47:30 a 3d object as well so let's pull our camera view out a little bit and let's do a few more spheres too as well so you can begin to take the sphere and modify that into more egg forms okay so
• 47:30 - 48:00 why the egg form well the egg form is an essential component for instance if you want to draw the palm or the hand this whole area is kind of an egg if you want to draw a calf or oval shapes of the head the egg form is a the concept is as close to the sphere as we can get so pull out just a little bit more as you can see and let's draw a few egg forms over here
• 48:00 - 48:30 so the shape of that egg form is like this so we're drawing its 2d version okay it's kind of like a cone as a matter of fact it's kind of a fatter version of the cone and the cone is over here right or not even the coney but we can go even further sorry we can go to the triangle the cone is three dimensional so there's the triangle and then of course we have
• 48:30 - 49:00 the 3d part of that which is now the cone of course and what's the cone the bottom of it is like our cylinder with the ellipse right in through there so now we have the cone so we can use this form which is a very handy tool to use when we talk about the egg form okay so there's the shape of it here now we can start to say okay
• 49:00 - 49:30 egg form a little bit more eggy like an like a chicken egg sitting on the on a table top which would be hard to balance but you get the idea i'll sit it down in through here and so if i threw some light over here contouring we could see it like this around so i'm thinking about these 360 degree
• 49:30 - 50:00 ellipses that start to tell us that this is a round form a little bit maybe a little bit darker on the edges not always that can be changed depending on the lining especially the lighting was was coming in this direction that could that could certainly change as well so we have that i'll keep on going practice this over and over again cross contouring
• 50:00 - 50:30 across a form a rounded form here and through here now i'll draw it a little bit more solidly in through here and we're starting to look down on it a little bit further so these could get a little wider like so get a little bit narrower as they come together like so depending upon our point of view and you might wind up with something that kind of looks like that in cross car cross contouring so these lines again they emphasize the width
• 50:30 - 51:00 of the form the depth and the dimension as they come across the form here now if i take this same form and i put a little light up here shining down a little sun symbol and a little bit of of a cast shadow down here look at what we get we get even more dimension so cast shadow here maybe a form shadow runs
• 51:00 - 51:30 like so and we'll cross contour our hatching lines in the same direction as our more graph cross contour lines and we can start to get even more of a dimensional source so the direction that i'm moving my hatched contour lines corresponds to the crossed contour graph or more technical lines we could get a lot more
• 51:30 - 52:00 technical and tights matter of fact you could do sketch after sketch tighten it down tighten it down put tracing paper over tighten it again then you could put it into photoshop or coral paint or whatever you want to use and then trace back over that put it in illustrator and make it so super graphic type that looks like a computer uh drew that you know here's another artist to look up look up uchello i think i'm spelling that right i don't know if it's two l's or one
• 52:00 - 52:30 or not but he did drawings of chalices and other objects he's a middle renaissance late renaissance artist and they were brilliant for their time for 14 14 1500 for their look as if uh he drew them from a computer they're they're outstanding so uchello look at look at his work so i could throw some lines in this direction like so and so you see again this
• 52:30 - 53:00 connection between the direction of the contouring which is cross hatched contour from the contour lines here that gives you that that rounded dimension into here so let's draw a couple of more egg forms i'll i'll sit it in this direction so i might start out drawing this the uh the back or the fat part of it the buttock part of it if you will like a like a uh a circle and then i'll say if the directions coming in this direction from
• 53:00 - 53:30 our egg form then i can start to put that cone rounded kind of cone top right in through here now i'm drawing like a sort of like a perfect i wouldn't say perfect but an egg that's not necessarily a chicken egg but it's got that feeling of of that roundness to it and so we can say with our line work we're coming across the back side like this and then this turns the opposite way here
• 53:30 - 54:00 okay and then it kind of comes up the shaft to the top part of our egg and so i'm always using thickness and thinness of line way to tell a story about what we're doing with the form where it's where we think it's articulating or being articulated in space okay
• 54:00 - 54:30 and what it is in space egg form that way coming down in this duration direction maybe another one is tilted and so we get this kind of egg where true maybe chicken egg would sit down like so so the basics of it is that circle right of that sphere the the
• 54:30 - 55:00 big part of it and then you move down and the egg can come in this direction right and turn through sketch it out don't be afraid to correct feel your way through draw lightly i know i'm drawing with the pen you could do this in in graphite you could do it in sharpie don't worry about erasing make your mistakes and show yourself what you're capable of correcting it's really
• 55:00 - 55:30 powerful so this might sit down at its apex right in through where i'm drawing here so i might draw my darkest line here and then taper that line off it's like this it's like drawing the same line curved line that's about the same line through here it's a little boring so what you could come do come and do is is thicken that line in some areas right not too thick we don't want to get you know to a line that's
• 55:30 - 56:00 here because that becomes what that becomes a shape so that's too thick for a line this is probably that might even be a little it got skeets helmets in the shading but right in through here thick to thin and taper it continue to taper that line make it beautiful and then back to kind of a medium maybe it disappears so using your line your line quality which is a whole another again another topic drawing can be so complex but they're all interrelated and you get you pick them up quickly because
• 56:00 - 56:30 when you're drawing you're using all of your elements and your principles mostly not always but mostly together but we we break them down so let's say the hot spot of the egg is right on the butt part of it and so here's where the light source is coming this direction okay and so this might be the hot spot right in through here and so i'm gonna throw i could throw contoured lines this direction if i want notice how they're not straight up and down vertical or horizontal
• 56:30 - 57:00 at an angle that can be an exciting change to the contouring approach that you take so their lightest here where that highlight is okay and they get darker maybe off right in through the rump part and they they fall away a little bit lighter and so you can lightly draw them let them fade out where the light is right in through here maybe pick up a little bit darker as
• 57:00 - 57:30 they turn away and you get this pinstriped effect but that tells you that they're round then you can cross let me finish this really quickly then i might even come up this direction a little bit but i need to come i need to come really back over into here to show you that through and through here right then you can say hey i wanted i want to also in the same drawing emphasize this motion right
• 57:30 - 58:00 across and so this is turning and moving that's not good turning in this direction so the arrow right in through here arrow there and so it's turning and through and coming back in that direction okay and so that gives you even more 3d so watches let's let's communicate that in the same drawing so this may come across and get at its fattest part right in through here where i've got the pin
• 58:00 - 58:30 okay and it's moving down across like so and then it can turn maybe it's going to stay fairly dark and over and then it contours and falls back in through this direction so i'm kind of giving some weight direction and dimension a little bit thicker here a little bit lighter medium a little bit darker there to get variety so we could keep going with that maybe i'll do here maybe this one's not
• 58:30 - 59:00 quite as curved it gets it wants to get to this area so it would start to perhaps do something like this right and so we get to this coming back around kind of like almost a cylinder in through this direction and so when you're drawing objects and forms say if you're drawing apples and oranges and cucumbers you
• 59:00 - 59:30 know in and rolls and buns and you might have a meat on there maybe you have french fries or you have a steak on there or whatever you're going to be trying to figure out which object which conception i want to use in my drawing is it a sphere is it a cube or is it a cylinder and you'll base your your middle concept off of that even
• 59:30 - 60:00 though you might be drawing more of what the object looks like but somewhere in your mind you need to have going you need to have going the idea that what you're drawing is also can it can also be conceived as a very very simple kind of concept so you could i could even go this direction or i could come back in that direction too as well so lots of powerful things you can do with cross contouring and so i can make
• 60:00 - 60:30 this like a polar hair area and cut a cut a hole out there if i wanted so there's another possibility lots of possibilities when when drawing and so again that's that's the egg form so you start out from kind of a circle and you say okay which direction from that circle do i want to go do i want to go up do i want to go this way that way that way you have you know 360 degrees of of options
• 60:30 - 61:00 to go from and say maybe i want to go back uh maybe i want to go out let's see space that with the camera this direction so i can go here and kind of base it off maybe this arrow direction it doesn't have to be that technical but i just want to give you the idea and then i can start to shape this egg in this direction kind of like that and you get the idea and then you have your your contouring so if the light source
• 61:00 - 61:30 maybe came up here i could throw some shadow down on the opposite side so the light's going to be one area in your shadow tone you probably know this you have some experience your shadow tone is going to be on its direct opposite and you have we went from 2d to three dimensionality okay all right so that is some basic constructs of
• 61:30 - 62:00 the sphere going from the two dimensional the circle draw that circle okay move that arm around move it around get a feel for where you want to put it get a feel for where you want to place it draw it in different sizes draw it in different different scales okay you can't draw in different directions why because it's a shape so and then so take that 2d form
• 62:00 - 62:30 practice the the heck out of it draw it lightly correct it correct it down so if you started out drawing it like this don't fret oh goodness right oh that's okay come back come back over it tighten it up in the dirt once you get it uh situated darken it in a little go darker and your your mistake lines won't show through so correct correct your mistakes not by
• 62:30 - 63:00 obsessively erasing that's why i wanted to do these in pen the next one i'll probably do in ballpoint pen i'll do the last one in sharpie is i don't i prefer you in youtube land you can do whatever you want but my students for sure i want you to get in the habit of correcting your drawings so we can see your corrections just see where you're learning you're making your mistakes and you're growing so if you can do that in youtube land hey go for it and then turn these turn these into
• 63:00 - 63:30 spheres 3d throw light on them if you want like this one or throw cross or globe lines okay if you will and make them into the beautiful 3d conceptions that they are okay so when you're drawing those circles draw lightly make sure you're trying to make all those pie those pie charts equal all right okay so now what i want to do is i want to go on to
• 63:30 - 64:00 the idea of the cube the square to the cube into the rectangular cube don't be thrown off by the rectangular cylinder okay let's move on to that form and now we'll go we'll draw those with a ballpoint pen okay let's look at the cube the old-fashioned cube the stalwart of planar directions and a really great measure of
• 64:00 - 64:30 where a form is in space where it's going how it's formed of the cube fantastic form one of my favorite forms to use even more so than the cylinder and uh the sphere so i'm drawing with a ballpoint pen and i may throw in some uh ruler usage with the triangle here i love using the triangle why because it's a hard edge like a ruler it's light and then whoops you can also see through it
• 64:30 - 65:00 which i like to so you know where your drawing is all right so we have now the the cube okay and again it's based off of the very uh dimensional or excuse me lack of dimension the 2d of the the square okay and the square or in this case
• 65:00 - 65:30 the rectangular square it means it's you know it's not all sides aren't equal is or kind of goes like like so you already you know this i'm going to start sketching this out one thing to start getting in the habit of is start lightly sketching out your line where you want it if you can okay you can do a hardcore kind of contour too that works too if you want and i get a i get a line going and then i tighten and darken that
• 65:30 - 66:00 line up so i got a probing line right and i'll probe here rectangular square squares form really just a rectangle and so i'll probe it out and then i'll get darker with it then you could come come over and if you want take your hard edge okay and boom clean that up if you want okay drawing squares i mean you did this in
• 66:00 - 66:30 grade school unless you're in grade school now you're watching which that would be a great thing and so you're tightening up those lines and so the trick for now and really just quickly now is that these are 90 degree angles okay in that they're nice and perpendicular okay they're nice and and perpendicular make that 90 degree angle there and in there uh that doesn't always have
• 66:30 - 67:00 to be the case but you get that and so quickly we're basing cubes off of this very simple two-dimensional concept okay and then we can get start to get i think a lot more jazzy with this so we can start out let's sketch out some more cubes here and we can start to say okay we've got this against that okay nice and light sketch don't worry about making a mistake if your lines out
• 67:00 - 67:30 here your lines over here are kind of wappy john go back and correct it i'm keeping a very light touch with my my pen i'm holding it very lightly i'm i'm holding it in a riding style like i did the sphere lecture very lightly and then when i have a good feel for where it's forming then i get a little bit and draw a little bit darker then we can come across and say okay i can use my ruled line what i'd prefer you to do
• 67:30 - 68:00 all students out there is to not sketch directly with the ruler okay like so here free hand this out learn to sketch freehand then later on you can kind of come back and do this if you want but freehand it get the experience don't please don't shortcut yourself be kind to yourself meaning that take the high road take the more difficult road learn how to what you call freehand sketch from now
• 68:00 - 68:30 on you'll be you'll be glad you did so let's turn this square into a cube and we're going to look as if we're looking on top of it okay we're above it watch this and so i've got a line coming here i've got a line coming here now i'm not really talking about perspective in this lesson although i'm using it i don't want to talk about it yet because it's own it's its own little not little it's only it's its own beefy
• 68:30 - 69:00 discussion topic and so i'm bringing this line over which is parallel to this line right into this line you see that these are the exact same not necessarily length these are but this necessarily isn't but they're the same horizontality these are these lines here of the cube are your depth lines that means where you're going back in space that gives you not death but depth deep
• 69:00 - 69:30 dimension ality deep deepness or what's another word we've been using 3d now the vertical here see i'm bringing this down now if i drew it over here that's not correct it's got to be vertical so this line equals this line in terms of of its angle which also equals this line see how that lines up nicely right to that base of the score of cube right in through here
• 69:30 - 70:00 and then we'll just kind of tighten and connect them a little bit let it be sketchy but let it be structurally solid now so we have now a 3d cube right you see that but let's talk about something else this now becomes what this becomes the front plane of the box or the cube of the form the form right so this becomes the 3d
• 70:00 - 70:30 aspect or the element also now this becomes the what the left side this becomes the left and this has a 3d aspect it's moving in this direction can you feel it going back in space can you feel it ask yourself hey can i feel it can i feel this going back back back in that direction okay that's so very important then can you
• 70:30 - 71:00 feel the top look how much more complex this form is than the shape here what a big difference in reality of your drawing practice so we can come down with these contours which tells us a story about its length not its width we wanted width we would go in this
• 71:00 - 71:30 direction like a rubik's cube look at that see and now let's tell a story about the top so we can connect where they touch here okay in here and clean these up just a little bit and they move off now in depth and dimension they create our top they are going back to
• 71:30 - 72:00 a defined point in space to give us that that 3d look look at that now we can come down here darken this line a little bit because it's sitting down on our imaginary table here and here then we could put a little shading so i'll do a little hat shading here and also at the top and what does that give us that gives us a
• 72:00 - 72:30 truer now measure to a picture of dimensionality with the the the cube so let's go a little bit further and let's change our points of view uh with the cube so let's branch out in these directions okay in let's see cubes rectangular boxes in in different forms without so much of talking about perspective okay we know it's there
• 72:30 - 73:00 we know perspective is there we're going to get into that midi topic several with several different lessons one point two point three point multiple point use and have all kinds of different lectures and kind of finish practice drawings from that so let's take another box form so let's come up here a little bit and let's take another box and i'll make this one more horizontal kind of rectangular box
• 73:00 - 73:30 for here in here and so maybe i want it moving the opposite of this box over here so i could say okay let's look as if we're below it looking down on it so i can start to project my side planes of my box in this direction okay they're the depth lines they are not necessarily never really the same angle okay i know you might have learned to draw cubes
• 73:30 - 74:00 somehow like that they're really not they may look it but they could they're they're different because they're they're in perspective so we'll cut this box off here bring my vertical over same this is the same angles here and then the horizontal part here to here to here is also the same angle so the horizontals are equal to one another and the verticals are equal to one another in this case
• 74:00 - 74:30 then we could throw some contour cross contour across these okay we can throw it in this direction if you want bring the length of this we could go in two different directions i'm going to go in this direction some people might go a horizontal we've already got that watch this let's go in this direction to emphasize that plane what moving back in space that way so we're emphasizing that
• 74:30 - 75:00 movement to and from us to and fro you've got to be able to think in drawing designing if you want to be a product designer or entertainment designer or creature designer concept artist fine artist illustrator you got to be able to think about all these uh concepts uh in your mind it seems overwhelming but you kind of take it on naturally you you will take it on naturally all right so let's draw another box
• 75:00 - 75:30 here so nice and loose make sure that the top and bottom are equal to one another in terms of their horizontality and their verticals are equal to one another in terms of their verticality and we'll tighten them up a little bit you can do like that if you want boom boom tighten them up all right so let's take on a view we'll come back in this direction
• 75:30 - 76:00 and so i'll say okay let's go here let's go here let's go in this direction this will be pulled at more of an angle than that one this will be pulled downward more than this one like so and i know you're thinking well how does he know that perspective i'll get there okay i know you might be frustrated a little bit by that but this is this is more basic than perspective we'll get there promise i want you to intuitively feel it out okay so we have that now i'm just going
• 76:00 - 76:30 to throw some shading on this one and i'll throw my shading there's another trick i'll show as i'm throwing my shading i'll throw my shading in the direction of the angles that are coming down you don't want to do it the opposite way you could but that that breaks up the effect of the flow then also butt my ruler against that edge i want to keep it nice and tight and see how fast you can go you can be loose and sketchy see it hit that edge and look at that keeps that edge clean
• 76:30 - 77:00 you have to hit watch this side and then for this one i'll emphasize the movement the l-shaped movement this way right okay so i'll come and i'll cross cut our cross contour hatching into the edge but here i'll go a little bit darker and darker where they come together even and boom i've got another plane going here on my of my box okay so we were drawing boxes in their one point boxes
• 77:00 - 77:30 what does that mean well that means that this front plane of our box is always parallel to us it looks very flat we're going to get out of that in a moment but the one thing i want to show you too as we move on down in this direction is that boxes uh cubes are not always probably more so often than not not just standing straight up what about they're tilted well remember our right angle are 90 degrees we want to keep that but we
• 77:30 - 78:00 want to tilt the box so we want to start doing this come back over here and see this we want to start doing this where they're tilted but they're still at that right angle of 90 degrees right that's a tilted tilted square it's taken off the the verticality and the true horizontality here and here and now it's at a diagonal so let's do that let's start maybe with i'm just going to sketch it out sketch it out here and
• 78:00 - 78:30 sketch it out here right 90 degrees running through there and then we'll come back over here 90 degrees and back over here right 90 degrees 90 degrees in all angles and if you want to tighten it up with your ruler go boom there boom there there come back and kind of connect them you can keep it sketchy but see how it tightens it up a little bit and now we've got we can go in several different directions we if
• 78:30 - 79:00 you wanted to show this plane in this plane we would come up this way if we wanted to show this plane in this plane we could come out this way if we wanted to show this plane this one we could come out there okay what we can't show is every plane in every direction you're really going to get most of the time two or three planes going okay i've shown i've shown you mostly three here okay let me quickly just show you two so make sure that you're you're like well
• 79:00 - 79:30 wait a minute how come it's not three well watch this so we show this against that how many planes do we see here's our table we're sitting on i'll shade it a little bit we only see two the front plane right and then the the side plank to the left so that's only two so you're going to see only two or three all right so let's pull back our planes in this direction let's go back in this direction so i could say okay i'll lightly sketch i
• 79:30 - 80:00 want this one to go that way now if i come in this direction that's only going to show me two so i've got to come out here a little bit to take this one into account there like so okay so i'm going to lightly sketch that out and then i'm going to say let's come back and clean it up now i can say in terms of my parallelness this is parallel to that that's parallel to that this now is parallel to this back line here
• 80:00 - 80:30 and there's my depth line here my plane change there and now this i'll bring down you don't want to draw out the tendency sometimes is to draw fatter here look how that's whoppy jawed okay meaning it's it's um this tended it's not correct and so now i want to bring that line down it's not true vertical it's on an angle right to there they're parallel so if i clean that up look at that and so we get a very now slight view of our
• 80:30 - 81:00 box on this left side do you see that so we've got this moving in this direction then it changes planes right here where that strong line is and what does it do it moves back in this direction okay so i'll put an arrow this way
• 81:00 - 81:30 as we go that way and then now this one moves it turns here turns and moves back in that direction goes here goes here and then as it hits this line it turns and it moves and it goes back in that direction here here here and there and so you get that change
• 81:30 - 82:00 right there and so that's why artists like to use boxy forms when drawing complex objects because it tells you a very specific story of when the light changes for the plane change and i'll do a little little uh con contour line on there just to give it a little bit of shadow dimension throw this across like that and you get the idea of that box so now
• 82:00 - 82:30 we have a tilt box so if this was sitting down on a table like so then you would see how tilted it would be from another box like this one up above it so we get that wonderful kind of tilted complex kind of construction okay so let's do one more i'll do although i'll start to go quickly through here now that won't be tilted why because that's a straight line so let's do another tilted one let's take
• 82:30 - 83:00 off that and we'll come back here and we'll come down this direction okay and over we'll tighten it tighten this up a little bit boom boom this can go quicker once you start to get the feel of it and then i'll bring now the angles back in this direction the opposite of that here if i only wanted two planes i would bring let's just do a two plane one how about that i would bring it this way
• 83:00 - 83:30 okay and so they would disappear where they in this sense where they meet okay that's called one point perspective and get to that now i'll arbitrarily say that's where i want my box playing my right plane to end and i'll tighten up this line i'll tighten up that line here in here i'll emphasize some contour line so i'll come across the form widthwise here to here
• 83:30 - 84:00 and then i'll start to move down where they change planes and i'm hitting right with that dot every time okay right there so that tells you look at that dimension that i start to get with the box form now we get two planes right and we've seen mostly three planes we've seen
• 84:00 - 84:30 three planes there three planes there two there zero planes right why because we have a shape and then three planes here as well all right let's move on a little bit of course this is tilted this is again kind of the same tilt just a different notice our viewpoint is different why because we see where our viewpoints in here with these two boxes because we're seeing the inside of the right side even because the boxes push over to the left and we're seeing the inside of this plane on the left side y because
• 84:30 - 85:00 the box is pushed over to the right so point of view help just put pov up here hopefully you can see it let me put it down a little bit lower point of view there you go is important and we'll get into that even further because it tells you where your viewpoint your relationship of your eye eye level is to the form itself and what what
• 85:00 - 85:30 clear planes that you're going to be uh seeing into the future and i'll put a little little shading on these this plane here so let's go on now to some two-point forms and the big difference here as we move over is that the two-point box has got the movement now of depth and dimension
• 85:30 - 86:00 now in two different directions meaning that we see that corner of our box not the front plane anymore but this front corner first i always kind of draw that front corner first but i don't necessarily have to i could come over here and do this if i wanted right i could do that i could actually draw it last here and to there and then draw it so i don't want you to think that it's so
• 86:00 - 86:30 procedurally driven that it's got to be a step by step remember that when i said earlier be careful of people who say how to draw this or how to draw that there are many different ways and i'm giving you constructive methodologies to help you figure out through your own learning in your own self-learning and pacing that there are many different methodologies be careful of style of an artist find out the construction of the artist the intent the ideas more so than the style
• 86:30 - 87:00 all right so let's finish out the bottom which moves back in space this way so these aren't parallel but they're in a depth projection of space and movement this is not parallel these are the verticals are now true vertical still that changes for now in this drawing see how they're true vertical tighten them up so you can see that so they are truly parallel to one another
• 87:00 - 87:30 there and also there they are parallel to one another then we could throw on a little shading i can do this kind of a cross show that as a cross contour and give it even more dimension it's kind of a diagonal there and if the light source is coming more in this direction i can give this this side a little bit more of a
• 87:30 - 88:00 shading tonality i can vary that maybe there's reflected light so i can leave a little bit open then i can get darker down towards the ending corners in there if i want that gives it uh an understanding of kind of gl of light skipping across the surface and this can be the lightest sign i'll put just a little bit of value through here notice we have one two three planes we have one two three step what i also call shading a lighter side one maybe a medium side two
• 88:00 - 88:30 and then a heavier side three i need to go maybe a little bit darker to illustrate that point a little more cleanly so i'll go back and give this more contouring shading so you can see this so one two three step shading one two three planes one two three all right so now look at the difference between the aspect or our drawing aspect
• 88:30 - 89:00 of this view of the cube against this view of the cube what's the difference the difference is a front plane view parallel to us all sides are parallel two are parallel the verticals of parallel the horizontals are parallel here we have change of plane dimension here and then once we hit this surface stops and then it wants to go back in space that way same thing here go wants to go up or down depending upon
• 89:00 - 89:30 your viewpoint then it stops and says come back this way okay and it keeps wanting and then if it goes underneath it comes back and it goes up and over and goes back vertical again but on the back side okay so what that looks like in its six-sidedness is this if we could see through it okay stay with me so i'll draw it quick here as if we're we don't see through it here
• 89:30 - 90:00 and here correct but then we have this back side so i'll try to draw it even liner here to there right here's where it connects right there and then it comes down through there so now we have a six sided cube so don't get confused by these little triangular stars i want you to see this dimension this is the left plane here i'll darken it in so you can see it left plane right plane
• 90:00 - 90:30 and then bottom plane here there okay and then you see this back side so the true top we can't so if we see through this okay there's our left plane
• 90:30 - 91:00 our right plane i'll give the the direction of the flow with the shading and then our bottom plane here so where's our true top our true top we're having a see through it you see here okay use your x-ray vision wonder woman whoever and so we see the top here's the top way up there underneath looking through here's your bottom we can see clearly but what about this
• 91:00 - 91:30 right plane on the back side we have to see through it it's over there same thing with this left plane it's back over there so looking at it from its true six-sided three-dimensional cell so again you have to trade take a very true measure of what it's going on in its complete three-dimensional aspect let's do that again let's take a little bit more simple view let's take a cube now where we're looking
• 91:30 - 92:00 uh on top of it a little bit more simple uh aspect and let me see if i can illustrate for you this concept better it's kind of like this but we're going to be looking at the top of it and so again remember when i said i drew the front plane not always let me draw the top first you can draw it from many different aspects sketch sketch this out draw make your mistakes draw a whole lot sketch constantly and this will pay off
• 92:00 - 92:30 for you no matter how you want to use drawing so let's bring down our verticals here vertical here vertical here nice and light and loose notice i make sometimes i'll make one line i'll make another line come next to it and bring those lines together and let's bring our bottom depth this way moving in this direction and let's bring our left depth now remember we're going back in space so it can't be straight across
• 92:30 - 93:00 so i can't make that line i can't do that that's a no-no it's got to be there there we go let's tighten this up a little bit here and here i'm going to change this angle up a little bit why instinct instinct tells me that's not quite wasn't quite accurate so we'll tighten this up okay so now we're going to draw the inside we're going to draw the guts of the cube now what we're really drawing is
• 93:00 - 93:30 doing is saying that it's going to be truly transparent it's as if it's made out of glass okay or transparent i'll just put uh transparent there so we'll see that how do we do that let's take this angle this is my guide is this going back in space without getting too perspective technical there's my guy right there so now i can say okay here's my guide here that feels pretty
• 93:30 - 94:00 good they almost would feel parallel might be a little bit more flat since it's got a longer way to go now we can start to bring down ah a true vertical i don't have to think it's hard i just have to know that's a true vertical and where that meets it lines up right there with those two lines technically meet then i can say well this is kind of nice that means that all i have to do is line up this point to that point but what i'm really saying is is that this whole movement feels like
• 94:00 - 94:30 it's going back in that direction correct there's my little arrow there i always drop to draw arrows that tell students hey that's going in that direction so then let's clean this up a little bit you always want to keep your back lines lighter why because they're distant so if i drew these two lines which one is a lighter line if i draw this line freehand which one can you see better which one comes forward in which one recedes even though they're
• 94:30 - 95:00 on the same plane the darker thicker lines so darker thicker lines come forward lighter thinner lines recede in space so watch this here here here now i'm using size dimension but also thickness relationships hopefully you can see that to make that fade away okay so let's strengthen up tighten up these lines here to here
• 95:00 - 95:30 don't worry about that line there that's okay or it's just a sketch correcting up your sketch here to here here to there there we go okay there there all right so now we can see look how clean and clear we can see that let's
• 95:30 - 96:00 analyze our planes now so we have we can see our top really cleanly right going back in space here so we can see that we can see our plane our left plane moving back in space this way right there's our contouring there right and then we can see our right plane forward
• 96:00 - 96:30 right plane right we can see going back in space this way pretty clean pretty clear and now to see the bottom since our viewpoint our eye level is higher we're looking down we see the bottom here but through because it's made now of transparency in glass if it was opaque like these we wouldn't be able to see it so there's the bottom right in through here here's
• 96:30 - 97:00 the left side of our box and of the back plane right and here's the right back right in through here so that gives you six sides top bottom top bottom left and right and back left back right one two three four five and six get in the habit if you can of starting to do that too as well and it will it
• 97:00 - 97:30 will truly kind of pay off for you i still feel like if i was going to truly correct this cube i would bring this up even a little a little higher right in through there and this over a little bit here and then you could come back and give this a little bit of shading to take the bite off that don't worry about your end corrections always correct it's more important to catch them there we go all right
• 97:30 - 98:00 so let's do a couple more i'll go through this even more quickly and we'll move on just a different shape box sketching now quicker i always like to vary my sizes to give it more give it more interest and dimension here and here this pulls back like so let's draw the back back dimension bring
• 98:00 - 98:30 that vertical up to here and we'll connect that over let it be loose let it be sketchy actually better draw like a box tower this way maybe let's go ahead and see the bottom of it here
• 98:30 - 99:00 there bring this over down there in this direction i can come back and tighten this up look how much of the bottom that we see in this viewpoint here there to there on over to there
• 99:00 - 99:30 down go a little bit lower sketching you get an approximation with a strong rule line you get much more definitive so you have to correct that and let's get the inside now let's bring this over to there let's bring this down to here looking at the building blocks of form
• 99:30 - 100:00 the cube one of my favorites because it tells us so much about the true direction of planes and white although too much boxing things don't look natural real so they have their limitations this is sitting down so i'll make that a little darker i can make it bring that out a little bit further put that down a little bit i could put some shadow down on the bottom of it through there
• 100:00 - 100:30 bring a little shadow tone through here [Laughter] do one more and through here let's see maybe i'll draw some depth first just to change the direction dimension here and so by the way you can you draw planes in different shapes like if we wanted to make this an l shape how would we do
• 100:30 - 101:00 that well okay we could start to bring this down like so and i could bring this out here okay like so bring start bringing this over and so letter forms boxy forms they're all kind of the same they just get a little bit more complex and bring down that vertical there and then we have more shape and so you want to start to feel this this moving this direction right and then this comes
• 101:00 - 101:30 downward okay like so then you want to feel this moving back in the same direction as this so we're feeling this side down side down and down and over to get us to there correct and so that's the whole point is to start to feel those planes and angles okay so that's the cube now i want to go on to our last form
• 101:30 - 102:00 which is a fun form which is the cylinder let's look at the cylinder now so this is an exciting uh another exciting aspect to our drawing that you'll use this form in a lot of different ways you'll use it for arms you'll use it for forearms for legs for trees for figures for all kinds of inventions you want to draw both from imagination from reality and using a little bit of both and also photography
• 102:00 - 102:30 as well so now i'm going to use the sharpie and good again you can erase so i think that's a good thing and i've got my my hard edge too as well so let's take a look at a little bit of we'll start over here with the cylinder and let's take a look at why it's so important so we start out with the cylinder it's antecedent is the rectangular or just the rectangle really
• 102:30 - 103:00 okay so at 90 degrees uh here and you can use that in many different kind of planar directions very flat shaped like so okay and then we can say okay we can start to put this in a little bit more fun dimension in perspective and we can start to use that rectangle here and that can be fun so it could be a tilt and we can use the plane to do this
• 103:00 - 103:30 right we can come out okay in this direction like so so it's moving in this direction and we can do that so it even gets even more fun and we can say all right so maybe i'll draw the front tip first we can pull that back this way and we can pull that back this way and we've got that and maybe i'll tighten that up just a little bit as you can see here you can see that there
• 103:30 - 104:00 in through here vertical there um well not quite a vertical we'll make it tilted as well and so we get this direction we know it's coming in this direction the rectangle it's also has a vector direction that way so we get here you see that and you also get it here as well now we can make cubes out of that we've done that already but now we want to explore also the concept of so we have a cylinder
• 104:00 - 104:30 make sure you can see i can see that rectangle cylinder and then now the ellipse and so that gives us our next added dimension to our drawing practice the ellipse is a disc okay it's a disc and it's essentially a circle that is starting to be looked at
• 104:30 - 105:00 not from its true flat perspective so if we drew a circle here okay and we said all right here's our circle our nice sketched out circle all sides are equal that's what we would see if we were looking at a can or we were looking at a piece of tape or i've got this little jar here's a cylinder right and we're looking at it
• 105:00 - 105:30 straight on probably see it where it's almost a true true circle looking at it straight on but if we start to tilt it and tilt it back we start to see it as a series of different ellipses same thing with the bottom tree flat so it's true flatness of the disk ellipse would look like this right you wouldn't have any dimension on
• 105:30 - 106:00 almost look like a line and the more that we turn the ellipse or the disc towards the circle it starts to get more oval like okay like that until we get back to the flap so that circle is flat this is my friends out there and drawing land this is an ellipse right there it's not a tree
• 106:00 - 106:30 circle same thing with all all those uh other ellipses now the point is is to start to connect these together to make that very sexy cool cylinder form i don't know about sexy but you get the idea and so now we can take all this information and say okay let's draw and let's make some cylinders and so a cylinder is a series of
• 106:30 - 107:00 discs ellipses that when stacked together no matter how their thickness they become a cylinder so a cylinder is a series of stacked ellipses that when put together become a cylinder lips is stacked together so if i drew that
• 107:00 - 107:30 a little bit more dimension this curve coming across maybe i'll put a little bit of cast shadow to take the bite of that heavy line out of the way and through there and over we get that feeling now the next thing is to take forget about the stacked ellipses okay and just draw the cylinder so let's take now an ellipse fairly flatter lip so the flatter they
• 107:30 - 108:00 are okay the closer they are to our true eye not down our available true vertical 90 degrees right back over here and sometimes what i like to do is teach my students is this takes a lighter touch with a sharpie is to bring a straight line
• 108:00 - 108:30 across because you know that the curve is not going to be so you have something to gauge off of it then i bring my lips over start to sketch it out and then darken in tighten it up a little bit i could take my ruler if i want here and here okay tighten those up something i want to talk about now as we look down the barrel of an ellipse through here is that the further ellipse
• 108:30 - 109:00 okay the ellipse that's further away from us this bottom curve is more curved than the top why it's further away so it's going to be flatter and get closer to the circle so see how this curve is got more of a curve than that one okay that bottom curve that's very very important now we could
• 109:00 - 109:30 come with some cross contour lines moving in this direction or back across just straight across many different ways to do that and so you could cross contour vertical but i think a truer measure of its nature roundness okay which it it corresponds to the sphere so if we came straight across flat then all of a sudden we would hit this and look we would come around right round we come around hit
• 109:30 - 110:00 come around hit come around even further and come around even further so that's where you get the idea of the stacked ellipse which i think is really important so these are straight here and then all of a sudden they get curved here and then they go back to being a straight kind of form so ellipses and rectangles and we start to get the cylinder and cylinders come in many different directions so this is when i show the
• 110:00 - 110:30 full disc that means i'm looking down on or i call that the open position so i call that open we're seeing through as if the cylinder were glass and so i call this area the closed position open and close what if we reversed it what would that say well what that would say was the can is above us so let's draw an ellipse here curve and then let's put our verticals downward for now
• 110:30 - 111:00 over here so we've got that then i'm going to draw my little light line through here now we're going to keep this open why because we're going to be looking up to the cylinder up to
• 111:00 - 111:30 running through there so we've got a darker thicker line lining through here now i like to when i draw my cylinders i like to give the plain change illustration at an angle just to play off of that sliced kind of quality like we took a knife and we cut we cut the sausage off a little bit like that and so what's happening is we have a straight coming through here and then we get the arch the curve right and then we come back over so we have the curve in through here and yep you guessed it since this
• 111:30 - 112:00 is further away since our viewpoints here this actually could be a little rounder in through here so plus right even though this is closed this is a a more curved ellipse here then this one even though that one's open so the idea of your eye position is very important or your point of view or where we're seeing it from here we're from below right here we're from above where you
• 112:00 - 112:30 see the open and closed now let's take a couple of aspects like this we took we've already taken this vertical uh cylinder let's take the uh what i'll say the cans laying down approach you know you could take this idea of drawing the cylinder and you could say okay i'm going to draw it as a rectangle first totally draw your rectangle out first like that okay sketch your rectangle out then you got
• 112:30 - 113:00 to figure which side are we seeing more of um i'm going to say that we're seeing this area more open just slightly in this area more closed okay that means this is going to be this side is going to be like this it's close so there's my ellipse right like that but the trick here with this one since it's straight on the ellipsis i'm going to keep this one slightly open but there won't be any
• 113:00 - 113:30 more plus or minus curve why because we're really seeing it from about the same vantage point even though i'm going to open this one up slightly so sometimes i'll start these curves here this straight line tells me where the true center is and i can curve slightly here you just want your curve just to touch on the edge curve in curve in through here you never want it to end straight like that you never want your your cylinders to to ends kind of end with an angle because they don't take a
• 113:30 - 114:00 look at a can a jar whatever you have and you'll you'll find that so i'll bring this over like so and then let's close our ends end to end here tighter i'm going to make this line a little darker and heavier than the top why because it's sitting down here so i'll even put a little darker line maybe make a little shadow here like so and then we'll fill a little shadow tone like that
• 114:00 - 114:30 and i'm going to put a little line here for a form shadow which means that the lights coming from out here shining down on i'm just going to put an arrow it's hard to show you that and draw it with arrow like that there's our light source okay that means that we could get a cross contour like so i'll vary these okay cross contour we could cross contour downwards cross contour downwards and so like that
• 114:30 - 115:00 and now let's put and we'll make this kind of a form shadow and i'll bring this over like so
• 115:00 - 115:30 and we'll bring this through here a little bit and then i can cross court i can put a little dot right there that tells me kind of like the center of that lip so i'll draw it flip this way and it tells me that my little crosshair lines do that and there's where my true center is and so i could say okay this moving in that direction if i want because really we can be moving with a true circle right
• 115:30 - 116:00 here coming through there we can be moving in this direction or this direction which gives us our all pies are equal our pie slices are equal but that doesn't say everything true center we could be moving in this direction of a plane change or that direction of a plane change that doesn't say everything we could be moving in this direction we could be moving in that direction you get the idea this could go on until i get a dark circle with
• 116:00 - 116:30 hundreds of of lines moving in any different direction i like to give this movement because it tells us a different story from true verticality i think that's that's pretty important uh as well then i come across and maybe put a little bit of receding shadow in through there all right so let's move on now to something a little bit more complex and i think more fun to look at with the cylinder and it's these kinds of plane reactions where they're coming towards and moving
• 116:30 - 117:00 back just like we did with the cube the one point two point cubes in our little our little cube section we can start to do the same thing with the cylinder now i can draw them i can do this and say do what i do and draw it like this and you draw it like that and you you put your lips over through here and you really wouldn't know how i figured all that out so it really wouldn't be that fair now would it
• 117:00 - 117:30 i don't think so let's talk a little bit slow it down a little bit and show you how i got that cylinder to turn down on its side this line is pretty telling okay and i'll show you why there's your rectangle right there so let's go over here a little bit and you can start out with a rectangular kind of form so we'll tilt this cylinder if that's even possible this way and we'll move it out this direction we'll freehand it first
• 117:30 - 118:00 move it out this direction and it will clean it up this way so this has a depth of plane dimension like a box rectangle okay there we go so it's moving back this way and also out towards us this way right so i can take that and then i can put a little vertical line in this true center which is here if i want and say okay here's the start of my ellipse here's the height it moves down look at i'm curving over
• 118:00 - 118:30 nice rounded curve more open here than it would be in the back we're seeing more of its dimension so if i continue on i've got to be have a light touch kind of right in through there right you see that so same thing now coming over here we'll keep it just slightly perceptually a little flatter i'll open this through move my arm keep that nice and light and then we'll tighten up our cylinder
• 118:30 - 119:00 here tighten up our cylinder there and so we start to move our cylinder out right in this direction and so we started with that plane of a rectangle you get so good at you don't need it anymore but it's when you need it that you use it and don't be afraid to use it so i can move up and there's the true vertical there of the center back and forth so we're taking a measure of using the cube in
• 119:00 - 119:30 some respects to help us with our cylinder positions let's do some more let's do one going in this direction okay so we can sketch out our rectangle first and make it a little bit longer if we want through here now let's sketch it just freehand okay back her like so correct it up as you need sometimes i'll start here and get a feel for it i'll kind of
• 119:30 - 120:00 sketch my way through it feel the width of it okay and then slicing that plane across i can start to do this i can bring this over bring this down a little bit and so now we have a i can shade it this way to make it feel cut like a sausage being cut
• 120:00 - 120:30 and you get that three-dimensional effect and all of this is doing two things it's moving in this direction the cylinder right but it's also cross contouring what do we get we get this two as well that turn across is so important following
• 120:30 - 121:00 that form here and around the form as it disappears here and then around as it comes back in and over is very very important so if i put a little shadow on it we might put a little cast shadow here move it down in this direction where it touches would be about right here and then this could form a cast shadow of course and along with the form shadow maybe of about riding through there and then i'll curve this over
• 121:00 - 121:30 as well like so okay all right so the life course hit higher about right in through running through there kind of a highlight line let's do it let's do a few more now i'm going to change my my holding of the pencil kind of to the palm method and what if we did a cylinder that was almost coming at us but slightly going downward slightly going downward like so well okay
• 121:30 - 122:00 the closer a cylinder gets to coming at us it's almost true round maybe the back would be and if it's coming down it might start to widen out a little bit okay like so and i might bring my straight line across here's my rectangle and bringing this up look at the overlap we'll get through here okay these might be coming straight almost straight on
• 122:00 - 122:30 and then we'll say here's our bottom all pies are equal roughly right into here okay so we've got that so that's moving slightly down how do we know that it's because we see this top plane moving in this direction like so here's our true center okay we could slice it off like that we could actually shade it at a slight angle gives it a little variety
• 122:30 - 123:00 a little darker maybe in the edge just to give it effect here make it look kind of like light skipping across it or maybe like sort of like steel as much as we can get for now then i could take my edge and tighten my edge up here here to here and then we've got a very foreshortened cylinder almost coming at us but slightly down if it was truly coming at us it was going
• 123:00 - 123:30 to hit or we were looking straight out and it was going to hit our head it would look like this what does that look like to you looks like the circle truly flat coming right at you like it was somebody's fist you know i could take this and we could give a circle and then we could put knuckles on it thumb over through here
• 123:30 - 124:00 right and then somebody was somebody would be coming to hit us we don't want that but you get the idea i want you to get the idea four fingers there's the pinky there's the thumb knuckles coming back and that's a hand coming right at us so the more you understand about perspective and about cylinders the more you can draw that hand more believable what if we were drawing a cylinder where it slightly was coming towards us but slightly up and maybe a
• 124:00 - 124:30 little bit to it at an angle so i could do this i might gesture out the direction here say i want to do that but i want to be pretty round so here's the back cylinder here then i might bring up depending on how wide i bring it up that might tell me how close it's coming to me or how much i'm looking down on it here's my my rectangle here right here's
• 124:30 - 125:00 the rectangle here's the center i can find that so i can say look how wide we are here look how wide we are here coming back over in this direction so we're moving that cylinder here and over and now we have
• 125:00 - 125:30 a cylinder that's coming towards us but slightly tilted away so it wouldn't actually help hit us this would hit us that's coming directly at us like oh look out okay there's the arrow doing that that's coming right at you this one's coming and going slightly up sort of towards us or away if you want let's suppose that way and kind of run at us so i have to be careful there then we can take a ruler
• 125:30 - 126:00 tighten this up a little bit we can give this a downward looking expression
• 126:00 - 126:30 then we can slice this coming across we can use that line like so and we get the cylinder in the direction that we want and here's like the center of that coming across
• 126:30 - 127:00 okay so i'll do maybe a few a few more over here you get the idea and so i like to show my students i have another video out of basic sketching forms where you put all this together but you start to give them curves like noodles closed position bring my verticals and they're now my length of my ellipse in a curved position here's these the curved rectangle and here's the open position like so and it starts to help you
• 127:00 - 127:30 figure out arms and legs even further so we have that okay and i could do something where this is closed here and this is open there's my rectangle closed in this position and then we have the open quality of the cylinder there as well these are a little bit more dynamic and more active and these are more static
• 127:30 - 128:00 but very accurate to the concept of the basics of the cylinder okay all right so there you go so we talked about today the cube the sphere and the cylinder their applications and hopefully you can start to see their importance into the context of drawing why we have them why they're available and they are tools
• 128:00 - 128:30 for you to use to explore and experiment with with no matter what type of art or what type of profession you're going in that's visually oriented i continue using this in every really every single profession so keep that in mind all right so i hope you got something out of it and um if you have any questions feedback email me a few of you do that love that keep that up keep on
• 128:30 - 129:00 practicing put a little put a little cash out and that's the that's the whole thing is to excuse me practice very diligently this uh these these aspects and it takes time drawing happens slowly but you get better with doing it takes time over time and you will see the improvement okay all right see you next time take care