Traditional manga with Tim Mcburnie in the background

right here saturation brightness color balance um again these will do very very similar things but right can potentially push just push the brightness up a little bit make it a little bit more dramatic right so there going to be that highlights mid turns see if we can maybe just push them yeah little it little bit towards the green might be good and and this is probably just going to sort of homogenize the colors a little bit right um they work kind of very separated and and this will probably on the on the camera is looking like very sort of extreme if we look at it here it also looks kind of pretty extreme up the Shadows right let's see if we can push the shuts so again the key is that you know need to remember that the goal is not to add a lot of color right so again probably what I would do after I've done this like really sort of pushing it up um because again this is going to look this is going to appear like sort of very very sort of vibrant and blown out um because one one of the biggest challenges with working on an iPad is that it it has quite good color gam right so kind of sort of looks pretty good on on the iPad but often if you're looking at it on something else then the colors can change a little bit um just cu the screen is is soort of so good and you get sort of focused on it um but yeah so I think that right if we sort of turn that on turn that off like I feel like that's giving us a little bit more color vibrancy so other thing we could do um on top of that is what do is duplicate that then let's do another one let's get the saturation down a bit because I actually want to for most of it right be not quite not quite so saturated and then we could put a mask on that right and then you sort of pull out the pull out that color vibrancy for the main things that we want um yeah but again it it's such a flat image I haven't added you know sort of tone or anything like that so it's very challenging to kind of push it push it further that but you know just a little kind of thing that's probably you know all we should really do with it um doing more than that is going to probably start to we the juice is not going to be worth the squeeze so to speak um I proba spent probably about an hour kind of just messing around with the color so again pretty long sort of demo again but um you know you're just refine your understanding of these things as you progress and I'll sort of get better at developing the workflow for the the finishing a little bit more but you probably don't need most of this stuff right if you kind of if you kind of stick to just sort of what we got here right um and even even just making things right let's sort of get it we can get up a little bit closer no I think this one is a bit better um yeah so so even if you just get rid of most of the right most of the extra sort of messing around and most of the extra right so the atmosphere right even that one could probably go down a little bit Bo yeah so you can basically just keep it very flat and and it'll still work really well um yeah you can add a little bit more and then you know you come back to the next day right we kind like push and pull some of this around right figure out exactly which one kind of what best yeah just mess around with it but yeah this is the this is the basic idea do a drawing add some pla color mess around and all we're doing is really sort of elevating that drawing right that is that is I guess the key to this sort of process and you're doing this kind of stuff it's not necessarily about creating some amazing illustration you do need to plan illustrations but if you can TR kind of just get get used to taking your drawings adding color like seeing what happens experiment You're Building I think one of the most important muscles with a which is your ability to just kind of mess around and see what happens and experiment and kind of think what's wrong with this image right does it need more of this does it need more of that does it need more color does it need more like what what does it need more of um how do I still get more of it um again there's like a huge number of ways we could I guess make this more interesting could play with making the lines a bit thicker etc etc but yeah anyway that's it for now on this one let me know what your thought of this one a little bit of me sort of messing around in procreate um but again I think that's often how this is done and that's also something I want to share with you is that you know I've been doing this for ages and this is like a new software program that you know I don't use all day every day to the same degree I use Photoshop and um you just mess around I do this in Photoshop as well if you've seen me do these tutorials and that's kind of part of the process right it's really important as I said to build that muscle for just kind of playing around with layers sitting back sliding sliders and just checking that final sort of read right it's the same thing if you're painting traditionally we step back from the work you know take a break come back to it that allows you to kind of see it fresh and I think just um again there is a lot of benefit you get from an image but also just kind of messing around and seeing what you can do with little sketches and other things you kind of create can be super useful too anyway that's all I got for this one let me know what your thought of this in the comments down below and we'll catch you around happy drawing all right I could to tell the story of what's happening to this character put this in front C this here there this bag let's erase this the bag all right there we go we got kind of Cl here think another kind here maybe I quite see those there we are yeah I I think I think we're okay in terms of terms of the overall look here so we compl probably switch back switch back here [Music] all right so we got these in the foreground I'll probably hit those last and might be a good idea to get some kind of small bit of paper so I can cover up some of the stuff start to play around more all right so I also wanted to make it clear that there are like of these berries that they're picking in these bags here so again deviating strongly from any kind of realistic saddle here just around here we can think about something that looks a little bit more interesting all right got this down there there and here we can think about shading this under there yeah him with drawing what's the point here yeah I that feels a bit more I mean it feels more feels more stylized than with yeah here nice so yeah I I guess I in terms of like sort of why why this drawing would exist um I think like you know my sort of reason for this type of thing to exist would be much more as a um like a development drawing sort of thing it's like not something that's super quick us we do probably a bunch of these and just you know see how thing would would look all right what do we got here this thing add some visual complexity some overlaps that's not not that work wrong kind of running out of sharp pencils here here got this tail here it isn't going to be that well drawn or kind of fully realized I'm going to probably want to push this branch make a little bit darker later on so I'm not adding turn because I feel like this this particular paper could uh make life really hard I think it um it's just going to take a lot of graphite so it's going to get super dark and smudgy if I don't don't keep it under control so I'll just hit it a bit darker later on T and stuff this thing here just trying to get a certain amount of visual complexity there with all these different bits pieces right want this to kind of be all right so yeah they about this size I feel like this kind of image would actually benefit a lot from color it's probably going to struggle we what happens if we do hit it with a bit of tone is it going to separate or not separate from the background enough here all right what we have in the thumbnail did that thumbnail go completely disappeared here it is what else do we have and this is where you know you can obviously deviate from the thumbnail but it does become exceedingly useful when yeah we kind of have this like what's next right so I feel like yeah having having this this real just dra line here super important other major thing we've got is this got this thing here and I did have a little block of text that seemed like it was going to going to be useful then we also had look like big old tree trunk in the background here um so you can see uh I mean I guess one of the things we could kind of talk about here is this right the illusion of complexity which which is just a matter of you know constantly overlapping forms um now with a quick sort of pencil drawing like this uh you know I guess you could if you you know have a style that would support it you know this could be the the basis for for a nice little sort of children's book style um you know and you could probably stop there or pretty you wouldn't need to take it that that much further and and you know if if this the reason I mentioned that is like you know if this you know visual complexity here is is all you need you know you might not you might not need to go much further um but a lot of what's Happening Here is it's also not detail it's it's pattern so I have pattern that's going this way and then I have a lot of these sort of other lines that are going in different directions so the patn which is one of those old school drawing Concepts right that like I feel like I completely didn't care about um you know the kind of thing you'd learn about in high school is like you've got pattern and texture and look at how this is happening I I just want to draw manga I this this seems completely pointless right but but so many of those concepts are actually you know included in you know and things like mango and inking and all that sort of stuff but yeah so it's not necessarily going to be tonal I guess is the point of what I'm saying that doesn't have to be tonal separation um like a value separation I don't I don't necessarily have to push and make everything super dark or light but what what we do want to make sure is that we have directional cont between some of these pattern so again I've got these trees going here going here this one's going there so you have very basic like this would be the best way of sort of describing what I'm talking about right we have you know areas of breast and and this sort of separates out all those different different areas even if we're not um going to you know punch at heaps you can still leave this quite light and you would probably get a lot of the effect just because we have contrasting patterns there little bit of subtle tracing of the form to help us understand what's going on so using exactly that concept there to kind of blend it [Music] off so I keep I keep working this and I'm not meant to don't what's going on there right distance one of these this pencil's getting kind of blunt too so could have watched that um yeah actually let me go shoing all I might have a is a shop on another two be shop two shot for that so yeah we kind of got we got happening need to get rid of this this is not going to help us here um you know I feel like that can kind of work right I feel like we have enough we have enough negative space here I'm going to keep doing this keep rotating this pencil feel like we have enough enough negative space that it kind going to allow things to breathe I might just add a bit more stuff just try and leave this arm a little bit um so I'm going to keep using this punch some of those Docker do docks and and I need to rework this this main character basically and some of this other stuff so yeah this is mostly good opportunity for me to draw leaves um yeah and I think like if if you don't get too lost with the with the watercolor paper I've always found this to be quite forgiving now now doing it with a 2B is like like I think it's just going to be very hard to get a lot of fidelity so you know what what I would kind of notice is you know if if I was going to do a comic book that needed a lot of detail and I was using this type of pencil I you know this would need to be like one pound right which which you can do just because of the the amount of detail that I'm sort of able to get here is not that much with this type of pencil um so we kind of would have normally this we could try that right that leg's coming back there this this aspect of it's pretty flaky right what's actually happening with the um with the legs that creature all right I feel like feel like that we're kind of working all right yeah continually punching some of these see if adding a bit of stuff to these well all right uh okay let's uh again just a sketch we're getting there let's uh let's see if we can rework this little guy's face a little bit let's go shop a pencil think I can jump in there and kind of push that aspect of it a little bit more grab my bit of paper all right so again there's there's nothing really that kind of needs be majorly changed I know try and do hopefully this Pap will sort of allow me to do this is yeah really see if I can sort of take some of it back and just sort of try and clean it up right we had a lot of overlap and and other things and it be good to just make sure that the hierarchy of detail with the character's face is is sort of working and also just clarify some of those little costume details kind of got big hit here just want to kind of push some of these shapes a bit might have to go in there and doing another the P this is typically the the kind of pures I use when I'm working this way get the the shape but yeah typically it's a l put some stuff in let's eras it out to simplify find this a little bit this really to you know know your characters well right it's very easy at this stage too yeah kind of overwork this kind of thing so again there's a bunch of different arrayers that you could you could use for this um there's a bunch of different arrayers that I I own um I really think it is good to just keep it simple right if I just keep this one little pencil and knable eraser everything else is going to be a little bit simpler just want this to be slightly different shape so the E is there go and yeah little eyebrows up just like a slightly better look so it's off here it's like little expressive changes are often what is going to make the difference um and it's very easy to through the process of refining and figuring them out to kind of mess up right but it's very easy doing this to kind of ruin the the whole look of it so you do have to you do have to be careful um and it's also easy to like overdo the the hierarchy of detail um and the contrast so you know as we're sort of building this like one of the areas we we can sort of see that you we're starting to get a lot of focus is is on this hair right the hair really doesn't need to or want to be there and the same with this right little a bag like there's a lot of visual complexity there there's a lot of stuff there I really want his hand to read [Music] nicely so if we get the shape a b better sorted I think I can worry a little bit less about what is behind it Bo sorry I be out to focus that for a minute [Music] we go again good to just Define the form here a little bit this here is bring his foot there but yeah I think I think that's that's kind of getting there right um let's do stay zoomed up but this this time we'll go flat just kind of finish it off so yeah just trying to focus on this focal area um and yeah probably you know don't don't need to go much further we're probably pretty much done with this just a quick one right just quick sketching but yeah just seeing if I can just pull some extra Focus around here so not trying to I'm trying not to like do too much of like drawing a line trying to do something I actually mentioned in that video about teeth which is probably in retrospect not a good place to put that concept but um I thought it was like a fun idea at the time but um you know making sure that we we don't necessarily flatten everything out like I kind of have just done and you know make sure that you know you're just drawing a line around everything you want to kind of pick up some areas right and and and keep it simple right so we we kind of push some little areas and put a little bit of detail here um or even again I'm sort of doing a line I want to make some of it feel kind of Darker right we don't necessarily have to let hit hit it super hard I can just choose some little bit yeah I think we're think we're pretty much done um so yeah just a simple art ritual video this week um let me know if this one is kind of helping out um again the the idea behind these kind of videos is just to be like hey you know in order to get better we all need to be sketching we don't need to be just turning up creating art um and I think it's really important to you know make a ritual out of creation and even though you know I'm sort of a deadline I'm like I should be drawing Comics right um you know the com I'm drawing is sci-fi and I haven't drawn anything like this for a while and there's something catic about it where you know I kind of make this thing and then I can put it up um you know it's kind of interesting right it's it it does make me happier in some ways um to to be doing this kind of work right because because I rarely do this sort of story book work these days I used to do a lot of this stuff spent um a good portion of my sort of early years thinking that probably one of the things I could do would be you know storybook illustration just because I just didn't really know anyone doing Comics or concept art or anything at the time it seems like more of a like an actual kind of possibility um but yeah simple little drawing what are we we're probably at 40 45 minutes something like that um for the video which I think is like a good time I think like kind of half an hour 45 minutes good little kind of sketching session see what you can get done uh yeah let me know how you sketching is going in the comments down below uh have some more um more sort of teaching teaching things about composition got a couple of cool um sort of idea teaching videos about composition and uh yeah might start to hit some more sort of anatomy style stuff as well in the coming weeks and months but yeah anyway uh that's all I've got for this one hey it's a little sort of drawing let see we can get it over here um yeah just playing around might be good to take this into Photoshop let me know if that's a video you'd like to see take this into Photoshop add some simple color super simple line and color process is always good but yeah um probably I'd say this 2B pencil bit dark probably should have started with maybe a b um and then going up to this one I didn't even get to right didn't even get to this one I feel like this would just be absolute Mayhem if I try try and hit it too hard with this B yeah you can see that's just going to go even even darker um but yeah anyway that's a look go for this one let me know um you know whether this was sort of helpful um whether you got any sort of thoughts things I should draw next um and other that cat around have dra when you're trying to draw characters and figures from your imagination one of the biggest challenges one of the hardest things to do is to get the subtlety right often what makes a character feel alive natural is millim it's all a little subtle body positions and it can be a real challenged to figure out how to reposition those if you get it wrong now understanding photographic or video reference will help you to obviously better your understanding of how the body moves and how action works and the subtleties of what a person is actually doing when they're doing a particular thing particular sporty move martial arts or just sitting there how do people actually hold themselves and feel natural reference is important but on this channel on the drawing codex mostly what I'm about is drawing from my imagination and teaching you how to do the same thing when I'm drawing Comics or illustration I need to draw the pose that's my pose it needs to be based the story board the thumbnail The Narrative and it needs to fit the composition that I choose and personally I've just never been to searching for or taking photo reference for every single thing that I do so creating a figure for me is really important whether or not I understand used reference to figure out how people move in the first place so to practice this we're going to draw something cool we're going to draw Chun Lee in an action pose and she's got that really cool classic Chun Lee pose where she kind of does a whole bunch of sort of kicks a whole bunch of sort of question mark kicks and this is actually a really good way to explore the concept of how we actually move those limbs around and adjust things and I've got some reference obviously I do have some anatomical reference that will kind of remind me where all the muscles are it's got some sceletal reference as well and I have as usual Andrew L's figure drawing for all its worth as a framework and what we're going to do is just sort of look at this as a drawing lesson essentially it's going to be laid back along as is usual for the drawing codex I'm going to dig a little bit into the concepts of what I mean when it comes to drawing from imagination and how we do use anatomical reference and a good understanding of how the body moves to be able to draw a figure from imagination every single time and you know be a to adjust that based on how we feel the CL should go not necessarily how a photo would telling us it should change anyway this should be a fun little drawing lesson hopefully you'll join me let's jump in and get start all right welcome to the drawing crit my name is t b professional working artist for over 20 years and on this channel we're all about drawing cool stuff from our imagination embracing the challenge of drawing and mastering the craft of L color illustration if you want to learn more about illustration or picture making you can check out my free illustration mini Workshop this charts my journey going from someone who looked really wasn't that good at drawing or art to becoming a professional artist being published I discussed topics such as how to get more Det and polishing your work how to think about composition creating thumbnails for your scenes as well as a few ideas surrounding how to think about getting professional work it's free and the link will be in the description so if that's something you're interested in go check it out all right here we are at the drawing table now what I'm going to do is just sort of go over the materials the drawing implements that I'm going to use here just so we don't sort of get those questions in the comments and so you know what I am using so I have some art box as reference I have some paper pencils I've got some eoet and skeleton models now these eoet and skill models are from anatomytools.com you kind of see it there that's where I've got it and and I think these are actually a really good Baseline um set of sort of anatomy eets right they good sort of mix of heroic proportions we've got something cool I'll show you in a minute um I've got some Black Wing matte uh pencils and black Wing 602 pencils um I have my street F Memorial archive view on the world art book that has just a whole pile of street fight art including many images of Chun Ley doing her million kicks kind of pose right um and lots of sort of good examples here of how to you know create very very Dynamic poses and stuff but um really mostly you know obviously looked at this um and uh you know I I think you should probably find some good reference that has good examples of action process CU we can look at different levels of reference right you can watch MMA you can watch the UFC or you know uh you know just sort of videos of people doing martial arts doing dancing whatever to to really get a feel for it feel your visual library but also it's good to see how people have exaggerated those things and taken them to the next level ultimately if you do mix good exaggeration good shape design good form with very accurate understanding how the body does move that's where you're likely to actually get some really really good stuff Happening Now what I'm actually going to use from this book though is a couple of images we got of Chan Lee and this really just reminds me of her costume so I've got sort of this one and this one and these are the main things that I'll actually be using as Chun Lee reference we have big all it's worth by Andrew Lumis which might may be um using as a reference and this is a good framework for during from imagination and constructive Anatomy Etc we'll do a little bit of refresher just in a minute before we start the actual demo on drawing Chun Le what constructive Anatomy is using the mannequin and just sort of to understand where we're going to go but basically this is just going to be drawing a Chun Le in a cool pose I go all this stuff to kind of help illustrate what I'm talking about but mostly about doing this I just be just drawing it right from my imagination and then I'd sort of check the the reference um at a certain point to make sure I got the costume right the paper I drawing on is actually some 500 series strathore Bristal plate surface because um yeah I think I'm going to have to erase a whole bunch in this demo so I want something that's going to take it but normally I wouldn't be doing that for this type of demo right um because that's that's some sort of illustration grade paper there now this is pretty pretty cool look um I did I just literally opened this up in the mail it's just sitting there in a box there uh this is a anatomical sort of sculpture sort of eoet um by rapel gretti and uh I don't actually know anything about this rapel ver said played a big part in the latest sort of go of War franchise um he has a really good fundamental understanding of anatomy um good dedication to the fundamental obviously massive massive talent and yeah I just got to some email like H you got this uh sort of anatomical model and I was like hell yeah I bought it and it came and I have no idea what it is or what it's about but looks pretty cool um and it does look like again I'll do a review of this on on the channel at some point uh again you know no one's sort of you know I wish people would just send me this stuff for free um I just sort of bought this because I thought it would looked cool um but I think uh what what it might be is actually like a really good um I don't even know whether it's it's probably Edition I don't even know where you can buy it but um yeah it does seem like it's probably a good heroic but very anatomically accurate eoet um so might actually be very good to use that if you are interested in superhero style portions but you still want someone who knows their Anatomy not all of these are correct right this one like rapael cred a trust for City I've taken some of his sculpting courses um he he really knows doing in terms of anatomy not all of these Echo shades are correct you've seen some where it's like wait where where's that bicep going what's going on this looks really really solid anyway I digress um these are the things I'm using so yeah let's uh let's jump into the actual drawing demo okay so here I've got a couple of rough little thumbnail sketches that I was just doing just before I sort of started recording just to get my head around what we're doing now I think we might sort of pick I I was thinking we could do something it's kind of foreshortened right really sort of challenge ourselves um but I think we'll just try something like this from the side um and use this as a good basis for this particular lesson again because I think it'll be a little bit easier to follow along and it illustrates the main point that I'm talking about right um but yeah this is you know just sort of little sketches it's worthwhile just refreshing a lot of what we're talking about when it comes to using lumus and the constructive Anatomy Concepts that he has such as building your figures from mannequin where we kind of obviously understand the anatomical proportions Etc but what we are kind of beginning with is a skeleton SL stick figure that we use to pose the character and the interesting thing is even once we kind of add form to it if we need to reposition the limb a big part of what we're going to talk about today is that you still need to understand the mannequin because what often happens is that and this is something we'll unpack as we go is that you need to move the limb from its actual joint and the joint you need to know where it is basically so if you look at the shoulder joints the in like the elbow is is pretty sort of obvious but you know even if you're just looking at the hand right like understanding where the hand actually kind of pivots from right where the where the fingers actually sort of pivot from right because because typically when you draw a finger right you kind of think of like oh this is my finger right it kind of starts here and ends here but actually right it it kind of starts here so when you're looking at if you look at a finger like this right and then if you make it sort of move from here because you're not thinking about you know the skeleton's actually there then you're going to draw it weird basically and that's the best way to sort of explain how all of this will work we need to make sure that we move the leg which is what we're going to be doing from the actual hip joint not kind of from over here down here over here understanding where the skeleton is underneath your drawing is key and building it this way is a great way to be able to not just build it once but be a to reposition it and understand how these things function if you are to kind of fiddle around with things so the basic idea that we're going to be using is this lumous mannequin and what we do is we build upon that and add sort of primary and secondary forms so what we're going to be doing when we deal with L do a little kind of drawing here as a demo right is we're going to have the the Torso form we're going to have our pelvic form we're going to have our head and we're going to use the proportions that we understand about the mannequin because we have studied our anatomy and we're going to construct a very simple stick figure now this will obviously be modified for male or female um figures and you know depending on the anatomy of those specific um elements but one of the things I also sort of talk about is that when we're creating characters that have significant costume elements we do need to take those into consideration so I'm just remembering what the Chun Le mannequin is and and I'm also remembering that um last time every time I draw her I I try and I tend not to make the thighs chunky enough so so this time I'm really going to work on making sure I build that primary form those big shapes and give her the chunky thighs that she deserves so this is where you think about okay we got the skeleton and on top of that we build the major primary form that is going to play a big part in the anatomy so you're looking at the difference between that uh you know more reasonable eoet model versus the rapel bretti one that's the difference right it's like we moving the limbs out a little bit moving the skele around a little bit but but a lot of what's being added is actually the primary form and secondary form of the muscles to give that proportion and what I'm always suggesting is that we we do that with these things like the big shoulder pads because that's a major part of the costume and that also you need to think about how those dyes are built right so so obviously there are some differences probably between different levels of sort of female anatomy in terms of you know where the um hips are placed right you know that some people would probably going to have sort of narrower hips wider hips Etc and then we build upon that so she has those chunky thighs need to just make sure like let's make these hips right a pretty wide pot but then we're also going to add the muscle right um and the fat on top of that so that's the basic idea of what we're doing stick figures little stick figures little mannequins and as as I always say the reason that we do the mannequin we induct a little bad handwriting is that what we want is the most kind of E quick and effective way to draw the figure so whatever that is right whatever that is for you you you don't necessarily have to follow the the lumus method all he's doing is showing you these are the marks that I put in this saves me time so if it saves me time to put in giant shoulder pad things for her cool costume in the beginning I do that if it helps me to understand and be more effective in the way that I plan the figure then uh yeah that's what we're going to do and again all we're doing is thinking about what we'll be following on with with the basic lesson is we're just thinking about like okay if I move this if I move this Bo then I can I can make sure that I move the limb right and the trick is really as I said just let's make sure we move it from the right spot it moves from here this is where that pole joint actually is that's where we need to move it so so that's kind of what we're going to be doing right it's like where can you place those again being super rough all right but this is the basic idea how do we how do we reposition the Li think about that and get it right now a little bit easier from the side um and I haven't sort of drawn the anatomy so that's a big part of what we're going to be sort of delving into but this is the fundamental concept that we're going to be dealing with in this lesson so anyway uh let's jump in what we're going to do next is look at how we kind of draw the basic P so taking these ideas and we're going to pick this one I think and we'll just look at how we construct this using as much sort of Fidel as we can looking at the skeleton first then building muscles primary form secondary form thinking about the costume details and then after that we'll look at how we move those limbs about so we start as usual with the mannequin with our simplified skeletal pose whatever though is most effective as I said you could easily you know do a mix of a things let's 's position over here one of the things that's kind of worthwhile is that again when we're imagining a pose we we often do have some kind of idea right of what of where it's going to be you know I've done my little thumbnail and that's often what you have to start with so it's good also to just rough in and think about where where those those things are going to go because that gives us a good indication of look is this going to fit right you know is this is this going to work and it's also important to kind of do this in a really rough way because if we if we get attached to anything here it could be uh it could spell trouble for us so I've kind of got an idea of how this is going to work right and I'm thinking about right like where where that dynamism is right you can see with this thumbnail I've almost got right this line here right this line goes here that one's going there so just making sure you know we remember all those things and and and now that I've got my little I guess you could call the suggestion drawing we can think about how we add structure here so I'm normally trying to start with the Torso slash pelvic connection so what I'm trying to draw first is probably get that and leave it there I'm trying to draw the back of this Bri cage right and I think what we're seeing is we're seeing the back of this so I'm drawing through these are the things we have to understand for constructive Anatomy again this will be will be light in the beginning I do apologize for that that is a good lesson for how you should prob draw is as light as possible so I'm also trying to find I can get get a bit of paper so I can sketch around on things so yeah I'm trying to find the head position so if we look at the the lumus method we of have this idea that we cut off side of the head and where you put that it's sort of going to Define roughly where the rest of the stuff goes so it it's kind of like a rough indication of where the head is going right and and that's really what I'm after but where's the where's the face going now I don't necessarily have to use her face but but use getting some of it would be good um so again I want to keep this movement here I'm going to think about where those shoulders are and we have some shoulder blades there right they're obviously going to change that kind of position I just I'm just roughly putting that stuff in we we probably don't need to to do it for this particular pose and again we may have to tweak this this is just first passs trying to feel out the pose see what we can get see what we Cann get happening the next thing we have is this idea of the plates right the pelvic area here now if you want a bit more of this stuff unpacked I have plenty of videos that you may have seen already on the channel R critic's channel that really talk about this but what we're after is to figure out where these two connection points are and the interesting thing is that they're pretty close together so the the points at which your actual legs pivot right the ball joints of your hip are actually pretty close to the center if you compared to the where we actually imagine the legs are um because again the legs look like they're kind of moving but the the actual hips are a little bit more in there all right so we're going to have this being super rough roughing it out and and what I want is for this hip joint right to come up this one's kind of coming up here right we're going to have this this one comes out here that here now you what you'll notice also is I'm not being that anatomically accurate to the skeleton this is after all a comic book cartoony look that I'm going for we don't need to be that that sort of crazy with it um and also this paper will will make things look just a little bit more sketchy um and also really useful and important to check your drawing right so I'm going to sort of look at it from you know up right so so you can get a better look at it you you might sort of put it upside down and that will allow you to get a better better angle on it but yeah here we can see I I feel like this is giving me a good indication of where all those different elements are I've got some very basic um erasing here that I'm going to do but this will handle a lot so another part of what I'm probably going to try and do is just hack away right um and create a bunch of stuff so the next thing that we would do um is you know basically add the secondary and primary form so we sort of got this skeleton and the proportion down hopefully but a lot of that proportion also will be influenced and we'll be able to inform it through adding primary form so if we add primary form which is just the big chunkiness right think about here's my leg joint there's my other leg joint the primary form is this it's just saying okay yeah we've got some glurs right we got a leg right here we're going to have knee it's thinking about these basic shapes the secondary form is where we just add stuff to that right and we're thinking more about exactly what's happening we still thinking in terms of form but now we're adding stuff to it primary secondary so let's think about that I'm going to add some primary form here right just sort of trying to mass in what's going to be happening right with these hopefully this time chunky thighs right so we got the waist and we're going to have different sort of levels of what's happening with these glutes but this is also where we can start to to look at and think about some of the anatomical reference but for now I'm just going to sort of rough it in see see what we can do um I mean one of the interesting things if you look at the thumbnail often when we're doing these thumbnails right um we we can get pretty good instincts right we we get we get some good stuff happening so I kind of have like a bulge going that way right but this bit of the thumbnail is kind of flat and we go here and it's kind of the opposite right so I kind of have this right opposite position flat flat curved curved then we going try and make these as chunky as possible so where the hips hips are probably getting a little bit lost here but still you can see I'm trying to right get these different bits to look look separate all right and and also not you know I'm not necessarily focusing on this is like look this is 100% accurate anatomical demo this is just juring right this is just kind of like how we do it um so sometimes what you find is with with a lot of these demos and things is that you know you don't always need to draw everything and different characters require different elements of drawing from you that's really important to understand right so I got my primary form here get half straight and I think we're going to have basically her foot up like this although again you know it depends how much forh and red this might be going away from us a little bit we might have to make that a little bit longer these are the subtleties of the proportion that we need to kind of pay attention to and again you know you would probably this is where you know reference to my mind really comes in sort of Handy is you know we we probably would want some some really good reference for like what happens to the glutes right when someone does kind of kick right where do they go you know where do they disappear again you know what how that changes based on you know whether or not there's anatomical muscle and blah blah blah blah but look we're just drawing cool stuff from our imagination right doesn't have to be perfect we just have to have a good solution for how to do it um again this I I always just mostly remind myself because um some I'm like well it's not 100% right um yeah all right so here I've got here's the joint here's the barn here's the other barn and let's try and make sure we get this right got my deltoid here and primary form often what you find as well is that like you know the more advanced you get with this the the easier it is for you to kind of add a little bit of primary and a little bit of secondary form at the same time right this is often what happens right we can you know try and do a bunch of things at once right so um but but in the beginning it's better to stop with like let's do primary let's do secondary so you know as an example right if I was drawing primary form here I'd be like okay that's the deltoid right there's the bicep tricep we've got the forearm we got this whereas the more sort of advanced you get the more you can say well I can kind of Imagine where those primary forms are going to be and what I'm going to do is try and get a jump on all right what's happening with with this form because that again can be a good way to get some good sort of dynamism in there um and again I'm probably going a bit too crazy with her sort of anatomy I feel like her shoulders are a little bit broad we kind of see how we go but again you know that's kind of her character right so we'll look at how the anatomy of the back actually works as well even though said we probably don't need to right we probably don't need to do that going to have that right here stuff and do something going out there be surprised also the degree that where having these little glowy things really kind of helps so you can see here that this secondary form I've added is not necessarily correct um and again we probably would have more contraction of the bicep right the deltoid here is going to be flatter Etc but it's giving us a start right and sometimes that's kind of what we need okay I'm just sort of playing around you know thinking about what is going to work what's not right obviously she's going to have big big kind of shoulder pads here and that might actually affect what we kind of see of her face right we might just see her head and this is where again you you start to change the poish right you can see there the way I've done it you're not actually seeing a lot of her face so that's kind of fine that can be something that you want to change in the pose and this is why doing little thumbnails adjusting your pose being able to tweak this is so important right because I could if I wanted understand where the pum of the neck is right and maybe we could sort of move her chin up or whatever but again she's fighting she should have chin down right you know that's sort of what should happen um so yeah you know obviously obviously we're going to try and be somewhat somewhat realistic with it um you want to have your chin up when you're finding people guys that's one of the things you learn from watching a lot of UFC all right how digress what are we doing um drawing the basic poers here right um again this is getting challenging for me to to properly see so you can see that I'm I'm massing in right I'm being I'm being rough with it and it will look a little bit static when we're at this stage right it it does look does look a little bit a little bit CTIC one of the things I I like from the thumbnail is just the degree to which this limb right is like this hand is much more up sort of covering her face right that that feels to me like that's a little bit more legit right this hand needs to be up covering your face and yeah but again I I feel like you that's kind of the the the basic pose done now important here to understand right as we look at moving these limbs around what I'm going to you know sort of look for and and track is and this is look I I just keep need to reiterate this this is co B Can ad me right like this is me being like I think like this is where the GL SK again so important to actually you know do proper research if if you're actually going to you know want to you know maybe do this as a cover or whatever but when I'm just doing panel to panel to panel you know this is typically the type of you know detail where I'll just leave it right kind of does the job it's okay um so I'm going to check basic proportion I'm going to do a few things that I think are important before we move on but yeah as I was just saying make sure we understand like where these fourr points are right bum bum right they really are kind of here right that's sort of where they are I think at least or somewhere around there and then again what we're looking at there is these joints right these B joints there so if you imagine like you know where the leg is typically if we look at the anatomical acet it's going to be important and I'm always Le glue arms back on but it can actually be useful not to have the arms there