this is the easiest way to draw from imagination (step by step)

Summary

This video by "brokendraw" dives deep into the art of drawing from imagination, emphasizing the critical role of mastering the five basic forms: sphere, cone, cylinder, cube, and pyramid. The creator, Tyran, explains that understanding these forms is akin to learning the alphabet of a language. Through studying these forms, artists can progress from basic drawings to more complex, realistic art by combining and manipulating these shapes. Tyran stresses how these forms simplify the observation and memorization of real-world structures, paving the way to creating art from imagination. He also emphasizes the importance of drawing from multiple angles and visualizing three-dimensional structures on a two-dimensional plane, enhancing an artist's ability to render forms from imagination vividly. This method, inspired by renowned artists like Peter Han, is presented as a foundational approach to serious art practice.

Highlights

• Understanding the five basic forms unlocks endless possibilities in drawing, acting as a key to translating imagination to paper. 🗝️
• Learning these forms is akin to learning the alphabets, making complex art creation as simple as forming words and sentences. ✍️
• The creator, Tyran's journey from an art student to a mentor underscores the transformative power of mastering basic shapes. 🌟
• By manipulating forms (bending, twisting, slicing), one can create dynamic and realistic images from simple structures. 🔄
• Utilizing forms in everyday drawing practices helps in observing real-world details and translating them into art effectively. 👀

Key Takeaways

• Mastering the five basic forms (sphere, cone, cylinder, cube, pyramid) is crucial for improving your drawing skills and progressing from beginner to advanced artist levels. 🖌️
• Think of the five basic forms as the alphabet of drawing – by combining them, you can create complex art pieces. 📚
• Practicing these forms from multiple angles enhances your ability to visualize and draw from imagination, merging 3D concepts into 2D representations. 🔄
• Manipulating and combining these forms lays the groundwork for more intricate drawings and enhances your comprehension of structures. 🏗️
• Drawing from imagination involves simplifying observations and memorizing structural concepts through basic shapes, as highlighted by artists like Peter Han. 🎨

Overview

Drawing from imagination is much like learning a new language – it starts with mastering the basics. In the art world, the five basic forms (sphere, cone, cylinder, cube, pyramid) are the alphabets every artist needs to know to transform their visual thoughts into reality. These foundational shapes serve as the building blocks for creativity, much like letters form words and sentences.

In this engaging video, Tyran shares insights drawn from his personal experience and teachings from world-renowned artists like Peter Han. He emphasizes that by practicing these basic forms consistently and visualizing them from every angle, artists can boost their confidence in drawing from imagination. This method effectively blends 3D conceptualization with 2D illustration, allowing for more nuanced and realistic art.

The journey to mastering drawing through basic forms involves both structured practice and creative exploration. Tyran highlights the importance of manipulating and combining these forms to understand complex structures better. This approach not only aids in visual memory but also equips artists with the skills needed to tackle a variety of creative challenges, ultimately facilitating a fluid transition from learning to invention.

Chapters

• 00:00 - 01:00: Introduction to Drawing from Imagination The chapter introduces the topic of drawing from imagination and mentions an influential figure in the field, Peter Han. Peter Han is known for his exceptional skills and teaching prowess in drawing. The chapter suggests that while many skilled artists tend to advertise their talents through their books, it poses a question about this practice. It sets up the context for exploring drawing from imagination with references to Han's works and reputation.
• 01:00 - 03:30: The Importance of Basic Forms The chapter discusses the significance of five seemingly random shapes chosen by Peter Han for the cover of his book. These shapes are not just arbitrary; understanding their importance can significantly enhance one's art skills within a year. The chapter promises to reveal how these shapes can transform and improve artistic ability.
• 03:30 - 08:00: Understanding the Five Basic Forms This chapter introduces the importance of understanding the five basic forms in drawing. The instructor emphasizes that learning these forms will bring significant improvement to one's drawing skills. The chapter includes a promise to explain both the theory and practical implementation of these forms, highlighting their significance. The speaker, Tyran, introduces himself as a student of animation at Sheridan College, underscoring a credible source of instruction. The chapter sets the stage for a detailed exploration of these foundational forms.
• 08:00 - 10:30: Applications of Basic Forms in Drawing The chapter introduces the concept of basic shapes in drawing, emphasizing their foundational role in the art of drawing from imagination. The instructor highlights their experience as both a mentor for students aspiring to attend college and as a drawing instructor, aspiring to reach the level of the masters in the field. The chapter sets the stage for the exploration of using basic forms to enhance drawing skills.
• 10:30 - 19:30: Manipulating the Basic Forms The chapter titled 'Manipulating the Basic Forms' compares the concept of five basic forms in art to alphabets in language. It suggests that just as alphabets are fundamental to constructing words and communication in language, these five basic forms are essential elements in creating art. This analogy is used to emphasize the foundational importance of these forms in artistic expression.
• 19:30 - 31:00: Combining Basic Forms for Complex Structures This chapter discusses how basic elements, like words, combine to form more complex structures, like sentences. Similarly, in art, simple forms combine to create intricate illustrations. The challenge for beginners in any field, especially art, is learning how to build from simple to complex. The transcript explores this struggle and encourages thinking of illustrations as visual 'sentences' that convey complex messages.
• 31:00 - 36:00: Practical Demonstration: Drawing a Motorcycle The chapter discusses how mastering basic forms is crucial to advancing from beginner to advanced levels in drawing. It emphasizes that advanced artists are essentially those who have a deep understanding of basic principles. The chapter suggests that focusing on learning basic forms effectively is the fastest way to progress, suggesting that the true skill of advanced artists comes from their mastery of the basics.
• 36:00 - 39:00: Recap and Final Tips The chapter emphasizes the importance of mastering basic forms in art as the key to becoming advanced. It identifies five essential shapes: the sphere, the cone, the cylinder, the cube, and the pyramid, though there's a momentary mix-up between the pyramid and the cone.

this is the easiest way to draw from imagination (step by step) Transcription

• 00:00 - 00:30 Hi. If you're even remotely interested in drawing from imagination, then you've heard of this guy. If you haven't, his name is Peter Han. He is fantastic at drawing. He teaches across the world. He has videos on Proco about drawing from imagination and he's just world class. You probably know that. But I have a question. [Music] Usually, when you're amazing at drawing, you tend to advertise it on your book
• 00:30 - 01:00 covers. So, how come Peter Han chooses these five random shapes to star on the cover of his only published book? What is so important about these five random shapes? Well, the answer to that question is what got my art from here to here within a year. And it's what's going to change your art. I'm not
• 01:00 - 01:30 exaggerating here. If you stick around till the end of the video, I will not only explain the theory behind why these forms are so important, but I will demonstrate it so that you can know what to do going forward, how to implement these forms into your drawing routine, and you will see drastic improvement. Don't take it from me. Take it from one of the best art instructors in the world. Without further ado, I should introduce myself. I am Tyran. I am a student of animation at Sheridan College
• 01:30 - 02:00 and a mentor and instructor to students trying to get into college as well as a instructor on drawing from imagination. I'm obviously not as good as the masters yet, but I will be one day. So stick around here if you want to keep learning. Without further ado, let's get into it. So I called them basic shapes. I called them random forms for shock value. But truth truth be told, these in the drawing world are the
• 02:00 - 02:30 five basic forms. And the easiest way for me to explain the value of these five basic forms is to give you an analogy in what we already know, language, right? We speak every day. We all speak languages. The five basic forms are what alphabets are to language. Okay? Okay. So, I want you to think of the five basic forms as alphabets. And this will tell you a lot of what they're going to do. What do alphabets do? Well, they
• 02:30 - 03:00 merge together to combine into words. What do words do? Well, they merge to com they merge together to combine into sentences. And when you see an illustration, I want you to think of it as a sentence. It's saying a lot of things. But how do you as a beginner build your way up there? And that is the major struggle that I know every artist who's watching this right now has struggled with. How do I get to
• 03:00 - 03:30 that level? And I am not exaggerating one iota when I tell you that this is the fastest way to progress from beginner to advanced. The truth is if you learn these basic forms well, you will innately be advanced. And this is something I realized that's crazy is that advanced artists are just the ones who have understood the basics. You think that learning basics makes
• 03:30 - 04:00 you good at the basics. No, being good at the basics makes you advanced. And I'll show you. So what are these five basic forms? Well, let's introduce them. We have the sphere. We have the pyramid. I'm sorry, that's the cone. We have the cone. We have the cylinder. We got the cube. And we have our
• 04:00 - 04:30 pyramid. And you might ask why this assortment of forms? Well, because they are the most varied forms you can come up with that cannot be grouped in any more neat way. Right? A sphere can never be grouped into a cone. A cone is fundamentally different than a cylinder. Right? A cube is fundamentally
• 04:30 - 05:00 different than a pyramid. They're all based on parts of one another, but they are unable to combine. Whereas you can combine sort of a pentagon shape, right? Or is this a Yeah, you can combine a pentagon shape. Like there's no point giving every form a name because a lot of things fit into these smaller categories. So let's say we have this form, right? Well, this is just a cut off cone. Let's say we have this form.
• 05:00 - 05:30 Well, this is just a extended sphere, right? The five basic forms are the most basic, as the name implies, divisible set of forms that we can start on. And remember, they're the alphabets. What do I mean by this? Well, if you want to start drawing anything, then you have to start by constructing them from the most basic assets. So, for example, an easy way
• 05:30 - 06:00 that you've all seen this done, if you've learned drawing at all, is the Lumis head. What Andrew Lumis suggests is you start a head by drawing a circle. And you start with a sphere. You have to think not of a circle. Don't think of a circle. Think of a sphere, right? That's the basic form we're working with. But then he wants you to slice off the edges, right? So this is getting into manipulating the basic form, right? So we've gone from a
• 06:00 - 06:30 sphere into a variation of the sphere which is it's cut off on the sides. But if you understand how to draw the sphere, then it's easy enough to know how to draw the cut off version of the sphere. From this sphere, what do we do? Well, we imagine and let's be simple here. Let's not start getting into the curves because that's when the face gets difficult. You have to account for all
• 06:30 - 07:00 the subtle curves of the human head and it's all its organic subtleties. Right now, we have to stay simple. We have to think in terms of the basic forms. I'm just going to add a box to the end of the face. Right? What you'll notice is we're starting to get to sort of a whistle-like shape.
• 07:00 - 07:30 Right? This is what a whistle would look like. Right? So, we have our basic head and let's add eyes. And let's add a nose. What can we do? Well, we can take this pyramid, right? We take the pyramid and we cut it in half so that we get two sides to this pyramid. Right? Scrap that side. Take this cut off half. Put it
• 07:30 - 08:00 on right here. And we got a nose. We got two eyes. And we can add a mouth. Now, you're obviously going to say, rightfully so, that this doesn't look anything like a face. You can see the slight resemblance, but this isn't a face. And you're absolutely correct, but we have to remember that the starting point needs to be drawable so that we can get somewhere more complex. So the idea is we need to be able to start here and slowly one by one start adding
• 08:00 - 08:30 incremental detail. For example, what if I added an ear? And I can think of the ear as a simple piece of imagine a cylinder that's a thin cylinder, right? And you slice it in half, right? Then, excuse me. Then you have somewhat of an ear shape, but it's very rudimentary. So, how about we carve
• 08:30 - 09:00 it a little bit? We slice off the top here so that we get something more like this. And how about we slice a chunk off the side here so we get something more like this. Do you see how very quickly we're getting to more of a real ear shape? And we imagine that there's some depth there. We're getting to an ear. And this is the basic building block for anything more complex, for anything
• 09:00 - 09:30 more structured. And it is a powerful tool that Kim Jong-ee uses, that Peter Han uses, that anybody who has successfully learned to draw from imagination uses. So the question is, well, why is this such a powerful tool? And there's two reasons for this. Number one, if you want to draw from imagination, what are you training yourself to do? Well, you're training yourself to observe the world and memorize it. Well, you'll quickly
• 09:30 - 10:00 find out that you can't memorize everything. So, what do you have to do? You have to simplify. And the five basic forms are tried and true simplification methods. Right? because I can't draw a realistic head
• 10:00 - 10:30 from every angle. But what I can do is I can memorize this combination of pyramids, spheres, and cubes. to start drawing simplified heads from every angle. And what we need to understand is that we can only get good at we can only
• 10:30 - 11:00 get better at drawing from imagination when we have a starting point. The idea isn't to jump straight into realism. The idea is to build off of these basic blocks enough that we can start adding sophisticated details to them. In this way, we're sort of carving out of a block of stone, just like Michelangelo did with David. You take this block of marble and you carve out of it. You chunk out of it until you
• 11:00 - 11:30 come to something that resembles structure. You've probably heard this before is we have to think like sculptors. This is something that Peter Han will say. This is something that Kim Jong will say. You have to think like a sculptor. We're working with three dimensions here. So the second reason that drawing with the basic forms is so valuable is
• 11:30 - 12:00 because forms your knowledge of forms multiplies. When you learn to draw one thing, you learn to draw many other things. And I'll show you an example from my sketchbook. So, I was at the museum and I drew a vase. And maybe you'd be surprised to hear that a vase helped me draw dogs better. How is that possible? Well,
• 12:00 - 12:30 because anything you study has over overlapping shape language with other forms. So this is the vase I studied. And now this is an oddly shaped vase that maybe to any other person would also look like an animal. It looks like a four-legged animal. But I studied this vase and it inadvertently helped me to figure out how to simplify a dog. Right? So these
• 12:30 - 13:00 this is a sneak peek to the next video. By the way, it's a drawing challenge. Uh if you want to know more about drawing from imagination, it is all about drawing from imagination every day. So t stay tuned for that. By the way, while we're here, if you like what you're seeing right now, please leave a like and a comment. We are actually right now we're almost about to hit 10k. So if you get here before 10k, please help me get there. You'll be one of the first people to get here before 10k. So I appreciate that. Anyway, that's reason number one.
• 13:00 - 13:30 Firstly, if you're trying to draw from your imagination, this is a simplification tool. And number two is that your knowledge of form multiplies. The more you know how to draw one thing, the more you can apply it to other things. So, I mean, let me prove that to you. I was demonstrating this to a student today and it got me wanting to record this right away because I realized I was telling this to every
• 13:30 - 14:00 student individually and it's something that is the foundation of drawing. It is as go to artwad.com go to Kim Jong-'s courses you will find this from all concept artists is that this is the foundation to drawing. So let me this is the example I used with him. You have a pair right? Let's say you slice open a pear and it looks it would look like what it look like this, right? Or
• 14:00 - 14:30 maybe it's a guava, whatever. It's some sort of fruit right there. You slice it open and this is what that thing would look like. Once you learn how to draw this, it's not that you've just learned how to draw a pair. No, there's so much more to it because this shape language applies directly
• 14:30 - 15:00 to this. Who's this? This looks like Bert and Ernie. This is some This is Bert or Ernie. But they're upset, they're screaming, they're crying, right? But look how we take that shape language. What we're doing is
• 15:00 - 15:30 essentially figuring out how to depict two semispheres in correspondence with each other touching at corners, right? And there's more to this. Well, what about this? Okay, so we take this shape, right? And we attach a circular thing. Well, this also to me sort of looks like the rim of a toilet, right? And you can see very
• 15:30 - 16:00 quickly how now this allows you to draw from your imagination. And let's go back to that language metaphor. What's happened is when you get comfortable with the basic forms and their alterations, what you're doing is you're learning your A to Z's. You're learning your alphabets and all this. These are different words. Toilet, right? Toilet. Ernie, whoever he is, Ernie or Bert, right? Let's say
• 16:00 - 16:30 pair. Well, these are easy to spell because I've learned my alphabets. Right? So this method and I say it multiplies because once you learn how to use the alphabets, reading happens much more quickly. You will your references will take so much less time to memorize because you're downloading the way they actually work as a whole. You're not the
• 16:30 - 17:00 issue with a lot of people who draw from reference and I have no issue with drawing from reference. If you are curious what I'm referring to, there is my last video about drawing with a pen. If you haven't watched that video, do check it out. As you'll see, it's it's quite useful. But what you don't want to do when you're drawing with a reference is look at the reference and try to copy what you see. So like looking at it and trying to copy the way their eyes work and looking at the outline and the
• 17:00 - 17:30 silhouette and thinking about where their mouth is going, right? No. What you want to do when you're studying reference is think of yourself as a translator. Look at the reference and think about breaking down your your reference into these five basic forms or alterations of them. Because remember there's not just five basic forms. The five basic forms can be manipulated and that is where you get the power. They
• 17:30 - 18:00 can not only be manipulated, they can be combined. And I'll show you that in one second. So stay tuned. Manipulated and combined. And that's when you truly get to the meat of it. Cuz not everything, nothing in the world looks like this and looks like this, unless you're talking about the pyramids and a barrel, right? But as we showed with the head, it all looks like a combination of it, right?
• 18:00 - 18:30 You take a sphere and you slice off the sides. And then you add a pair of sort of sunglasses to the front, right? And you add a ridge up here. And you add a type of pyramid here, right? You add a bump for the mouth. Very quickly, you'll see that you start to using. And what I'm doing again, remember sculpting. I'm not thinking in more complex shapes. It's
• 18:30 - 19:00 just that I'm adding a bunch of tiny primitive forms to those shapes. Right? If you're fluent using the alphabet, imagine this is just a really long word. Whereas the basic forms are short words. This just has a lot of little nuances. It's still the same information. So the idea is to get so comfortable drawing the five basic forms from any angle that everything you look at can be interpreted through that lens
• 19:00 - 19:30 of what how can I fit the forms into this? And in my first video I talked about the box and the box is the basic introduction to this concept. And this video is taking that one step further, introducing you to the the next most complex set of ideas. Right? My entire my philosophy with drawing is start basic. Drawing at its root is learning how to
• 19:30 - 20:00 depict 3D on a 2D plane. That is all drawing is. And drawing from imagination is memorizing the principles of 3D on 2D and applying them well. Frankly, the people who can draw from imagination really well have just learned how to draw really well and they've memorized the rules so that they no longer need to look at reference. Like if I
• 20:00 - 20:30 study, if I learn the formula or the sentence that makes up a human face, I don't need to go to the dictionary every time I want to draw it. I can just remember how that word is spelled. Right? So that word is spelled with a cutff sphere, right? It's spelled with a curve that roots from the middle of that sphere. and comes around and
• 20:30 - 21:00 meets this plane here. And it's just a combination of many combined forms that if you want to start getting good at this, you start basic, right? So, what do you start with? Let's let's get into the bones of okay, I believe you. I I understand that this is important. How do I start studying the five basic forms? Good
• 21:00 - 21:30 question. I'm glad uh you're on board and still watching. So, thank you because I promise this will change your art. If you haven't seen the video where I show you the progress I made in in 9 months, check that out because it was all because of this. Go check out Peter Han's work. Go check out Zeff Draws. He's a bit more advanced, but he is immensely good at explaining these ideas and demonstrating it as well, but not
• 21:30 - 22:00 yet. Don't don't leave this video yet. So, we have these five basic forms. So, step one, get comfortable drawing these from every angle. So actionable step is in my video on the cube linked right here. I showed you Kren's Cushard's cube grid. And if you've done that practice, you know that
• 22:00 - 22:30 that is hard. But once you do that, you have much better control over your cube. What I want you to do is do the exact same exercise, but with these five basic forms. Now, how would you do that? Well, I'm going to very quickly show you how the cube, once again, the cube is where everything begins, which is why I started with that video because from the cube, you have the blueprint and
• 22:30 - 23:00 guideline to draw everything else in the world. So, from the cube, let's say I map the drawn X through your cube and you have the midpoints established. So draw an X to locate the middle of the line. From the middle, draw the lines out till it touches the four edges of your box. Those four edges are important because they define where your major and minor axes of the circle are. And major and minor axes are the
• 23:00 - 23:30 furthest point on that circle. And a major axis is always perpendicular to the minor axis. So you do that on both sides. You draw out a circle and you have yourself a cylinder. Bravo. That's step one. What I want you to do is draw this cylinder in the cube from every angle until you get so comfortable that you no longer need the cube to visualize the cylinder. Right? To the point where you can start going, "Ah, cylinder like this, right? Cylinder like this." And if
• 23:30 - 24:00 you're And I know just sticking with random abstract things is boring. So always think about this cylinder as a function of the head, right? Now, it doesn't need to be don't worry about it being realistic because you're sacrificing realism of subject aesthetic for realism of form. And form and proportion is the most important thing. As Peter Han says right
• 24:00 - 24:30 here, proportion has to be solid. If the proportion is wonky, you got to start over. You can't save that. So, don't worry about how realistic something looks. Right now, I want you to focus on the form feeling real. I want you to to make sure these objects feel like they're actually existing in space. So first I want you to get comfortable drawing these forms from every direction
• 24:30 - 25:00 because imagine or imagine these forms are basic representations of the human body which they are. People figured this out a long time ago. I'm not giving you anything new but as someone who's drawn for a decade I didn't find this out until like a year and a half ago. And it's a real shame and I don't want you to be in the same boat because I failed getting into my dream school three two times and you don't have to do that. You just have to
• 25:00 - 25:30 practice this. So something like this is an exact representation of this idea. And what you have to do is be able to think in your brain as people like this. Ultimately people aren't objects but when you're drawing them you can think of them as objects. Okay. So first start getting comfortable with these from every direction. Then once you can do that then you can get into more subtle realistic forms as in learn to
• 25:30 - 26:00 manipulate them. So I can't go over every single one but here are some basic manipulations. You can bend, you can twist, you can slice, and you can extend. So let's take the cylinder. How do you bend the cylinder? Well, imagine that one half of the cylinder is going like
• 26:00 - 26:30 this and the other half is going like this. Well, what that look like? Well, the other half would be coming around like this and there would be a fold down the middle and like this. And there we go. Do you see it yet? Don't you see that? This is the same logic that goes behind sleeves and arm and arms, right? I have a guy holding a can
• 26:30 - 27:00 right here. Do you see how already this idea that there's overlap behind the forms you practice? It's this idea coming back again. You start with abstract shapes and you can apply them to real life. I call this the Mr. Miyagi method. You know how he was making the karate kid do all these seemingly seemingly irrelevant movements and he was complaining and he was like this isn't helping me. And then he goes
• 27:00 - 27:30 and he kicks butt in the fights because all this wipe on wipe off stuff was able to be applied subconsciously. I want you to be able to do this so that you can do this, right? So that you can draw freely from your imagination. And the analogy I was using is that how are you going to speak freely if you don't know the words, right? You need to learn and if you how do you learn the words? You learn the alphabets, man. You got to learn the alphabets. And these manipulations
• 27:30 - 28:00 are they're like conjugations. They're like past and future tense. They're you're learning different ways to use the same thing. So, let's look at more of these manipulations. So, we have bending, right? We got bending where you tilt something forward. You keep them in the same axis, but they're just coming. They're just turning direction, right? I apologize for the slightly
• 28:00 - 28:30 sloppy nature of this. I don't want to time-lapse my drawings and I just want to be quick with it. Right? So, you can twist Now twist is best shown with a box, right? So you take one side. Let's say the box is like this, right? So that's one plane and you want the other plane to be like this. Well, how do you do that? You take this side and you have it, right? It goes like and it comes around like that,
• 28:30 - 29:00 right? You're twisting it and it's going like it's going around. That's twisting. You have slicing. Now, slicing is taking a basic form and imagining it in its entirety and cutting it out. Cutting off the top. So, slicing would mean from a sphere, you end up with two pieces. Now, this is super useful because it gets you thinking
• 29:00 - 29:30 about the forms not as their original state, but and let's say we slice down this half, right? But you start thinking of them as three-dimensional objects. And that's the whole thing. You have to think about the whole world as three-dimensional, right? So, that's slicing. And you can slice the the cone, right? You slice the cone. You take off one side and you imagine that the circle comes through.
• 29:30 - 30:00 Bam. Right? There's your cone sliced. Okay? And then you have extending. Now, this is also called extruding. And that's just you take this one's the the cube. But what you can do is you can take any form, right? You can take anything. And then you just go, I'm gonna lengthen it. Give it a long sense or give it, you just take the silhouette of an object
• 30:00 - 30:30 and you draw it again. So that's I could draw this and then I could repeat it here and then you just connect and now it looks so simple, but it's a very helpful thing. Like for example, we just came up with a bench or whatever this could be, right? And then if you and the beauty with understanding form too is that you're thinking in three-dimensional shapes, meaning that lighting comes so much easier because so much of the problem with lighting is that you don't understand the the form,
• 30:30 - 31:00 the the way an object turns in space. When you think about the basic forms as a starting point for your drawing ability, then every other fundamental stacks on that very neatly. It's a solid, it's as solid a foundation of drawing fundamentals as you can get. And from there, everything stacks on, which is again why you learn so much faster once you understand this
• 31:00 - 31:30 concept. So once you have learned to manipulate them, the final step, so that was step two, manipulate. The final step then is to combine. And this is where we get into drawing the world as you want. So step three is to combine. And the step four is to just create. Just go off and do
• 31:30 - 32:00 it. You have learned the language. Now go speak it. So, as I said, this is the time I now demonstrate by choosing a hard subject matter that I have rarely studied and showing you guys that everything complex can be broken down into forms and you just got to practice seeing. Okay, so let's now the angle I'm going to draw it at, is not the same angle you're going to see it at, but I'm just going to prop it up to slightly mimic the angle. And I'm going to think, well, I'll just show
• 32:00 - 32:30 you here so you get a good look at what the what it looks like beforehand. It's a motorcycle. I got this uh on vacation with my family. So, how do we start? Well, we're going to look at the forms here. What we know is that these wheels are on the same line because they're on the same like y depth, meaning they take up the same amount of space. So I guess I'm drawing it from overhead. So how I'd
• 32:30 - 33:00 start is to draw you have to translate this wheel into the top down view that you're seeing it. Now, it's the same as remember that cube grid we did where we have to draw the cube at like a very tilted up angle. That is where this comes in handy. Even though it's a different shape, it's the same concept. Remember Mr. Miyagi type stuff. We took what we practiced in abstract here to apply it in reality here. And I've drawn
• 33:00 - 33:30 the axis this way. Right? And now every object I draw is corresponding to that angle. Right? So I'm seeing the top of everything. It makes sense because I've translated what I'm seeing. I'm interpreting it instead of drawing what I see. I'm interpreting how these shapes would work. Sometimes it's more so the truth in art is more so found when you interpret shapes rather than drawing exactly what you see because there's
• 33:30 - 34:00 some visual illusions that don't actually apply to the real thing. So, I know that there's a basic form this way, which is the gas tank, which I'm choosing to depict as some sort of rounded form that is pretty nondescript right now. Right? And there is a attachment on the bottom with some cylinders that are sort of like
• 34:00 - 34:30 this, right? And a another pair of cylinders that comes out underneath that form. On top of that, this seat comes out like this. And I remember seeing a Kim Jong- demo where he likened a bike seat head. And I'm not going to do this well, so I'll just show you the drawing. He likened this bike seat head to a dog, a wolf
• 34:30 - 35:00 head or a fox head. And that was so insightful to seeing how once again it's all connected, right? And that's why you got to wonder how does someone in 40 years of age do all that is because they found a way to connect it all together. So, I have to be quick because I'm noticing that my camera is dying here. So, I'm just going to finish up these shapes. Not be too precious with it, but
• 35:00 - 35:30 and we connect this circle back here like that. Might be a bit big. Like this. We're adding there's some nuts and bolts on it. There's this I don't know. I got to learn the terminology here. But there's this pipe comes out the side, circle comes out, right? So by using what do we use? We use the cylinder, right? In multiple places. We use an an a manipulated form
• 35:30 - 36:00 of the sphere, right? We used a lot of cylinders. Where do we use the cube? Well, the cube didn't exist, but the cube exists in its perspective. Everything fits in a box. The cube's always been there like this, right? That's how I thought about the space. That's how I knew how to ground and give direction to all my forms. From here, we can easily since we understand the
• 36:00 - 36:30 orientation of these objects in space. We can give it shading. And this is the building block for how you get good at drawing because it is the foundation of drawing. From here, you will learn everything else so much faster. Reference will be easier to memorize because it's easier to understand. Value will be easier to understand because you know the planes innately because you study that way. That is why it's so important. All right, my camera died, but let's recap what we learned. It's a four-step
• 36:30 - 37:00 process. Step one is to learn the five basic forms from every angle. Get comfortable drawing them. Start with the cube because the cube is the origin for all the other forms. Get comfortable drawing the cube from every angle. Watch this video right here if you haven't because it covers why that's so important. Then build the pyramid, cylinder, cone, and sphere out of the cube. Once you're comfortable drawing all those five forms with the cube as a reference, take away the cube as a reference and start drawing them without construction. Once you can do
• 37:00 - 37:30 that, move on to step two where we take the basic form and we manipulate them. So manipulate the individual forms by slicing, twisting, bending and and extending them. Once you can do that, start combining them. Combine simply. Start with the box. Okay? And then start with the cylinder and then build up your complexity. Step three, taking your ability to manipulate and combine forms in abstract. Apply it by interpreting a reference. Don't copy the reference.
• 37:30 - 38:00 Think about the reference and break it down into the basic forms you know and translate it into a combination of basic forms. Draw those. Measure your reference in relation to those basic forms. And once you feel comfortable understanding what that reference is made of, start to draw those basic forms, start to draw that combination of a basic form from different angles. As you do that, you're in the process of memorizing that basic form without the
• 38:00 - 38:30 need for reference. And you are now drawing from your imagination. Do that for months or years and you will come to find that is exactly how someone like Kim Jong-un does what he does. It all starts from the five basic forms. That is why he has them on the book here. By the way, this video is not free. It costs a like. And if you really liked it, a comment would be awesome. But I will always be working to make as much valuable information accessible for free
• 38:30 - 39:00 right here on YouTube. So watch the video on the box if you haven't already. Otherwise, see you in January. Bye.