Dynamic Sketching Study Guide

00:50:56
https://www.youtube.com/watch?v=t6Jc3hjxcLM

Zusammenfassung

TLDRVideoen handler om dynamisk skissering, med fokus på en persons personlige reise gjennom å lære og undervise i teknikken. Det diskuteres hvordan dynamisk skissering har utviklet seg fra innsatsen til personer som Norman Shurman og Peter H, og hvordan dette har blitt en anerkjent praksis på designskoler som Art Center College of Design og CGMA. Det gis en grundig oversikt over strukturen i flere skissekurs, som dekker grunnleggende elementer som linje, tekstur, perspektiv og organsike former, samt avanserte emner som lysstrukturer og dyreskissering. Det snakkes også om tverrfaglig tilnærming til dynamisk skissering, som innebærer å kombinere ulike teknikker og bruke dem til å skape original kunst. Flere ressurser er tilgjengelig for de som ønsker å lære mer, inkludert online kurs fra CGMA og Brainstorm School, og bøker som 'Dynamic Bible' av Peter H. Videoen oppfordrer også seere til å dele sine erfaringer og ressurser for å bygge et fellesskap rundt kunsten å skissere.

Mitbringsel

  • 🖌 Dynamisk skissering er en sentral ferdighet i kunstfeltet.
  • 📚 Norman Shurman var en pioner innen dette området.
  • 🎨 Strukturert kursinnhold kan hjelpe lærende.
  • ✍️ Linjearbeid og teksturer er grunnleggende.
  • 🖼 Perspektiv er kritisk for realistisk skissering.
  • 🌱 Kombinasjonen av teknikker bygger ferdigheter.
  • 🔖 Ressurser som 'Dynamic Bible' er uvurderlige.
  • 🖍 Stadig praksis forbedrer tegneferdigheter.
  • 🌍 Global deling av kunnskap styrker fellesskapet.
  • 🖇 Referanser til natur kan berike tegnearbeid.

Zeitleiste

  • 00:00:00 - 00:05:00

    Videoen starter med en introduksjon til dynamisk skissering som et emne som ligger nær hjertet til presentatøren. Det nevnes at Norman Shurman, en lærer ved Art Center College of Design, var en pioner i bruk av begrepet ‘dynamisk skissering’.

  • 00:05:00 - 00:10:00

    Diskusjonen om dynamisk skissering fortsetter med en gjennomgang av strukturen i ulike kurs, inkludert de ved CGMA (CG Master Academy). Kursets relevans for visuell kommunikasjon og hvordan det har vokst i popularitet globalt beskrives.

  • 00:10:00 - 00:15:00

    Kort om hvordan læringsteknikk og valg av referanser påvirker ens kunstneriske reise. Betydningen av å finne sin egen fart i læringsprosessen, og ikke henge seg for mye opp i én spesifikk del av skissering, som linjekvalitet.

  • 00:15:00 - 00:20:00

    Presentatøren diskuterer sin personlige opplevelse med dynamiske skisseringskurs, med spesifikt fokus på CGMA-kurser ledet av Peter H. Viktigheten av linjearbeid, teksturer, organiske former og perspektiv er understreket.

  • 00:20:00 - 00:25:00

    Utforsker hvordan emner som insekter og bein brukes for å trene visuell kommunikasjon (viscom) ferdigheter. Presentatøren understreker vekten av praktisk design og å stevne mer utendørs skissering.

  • 00:25:00 - 00:30:00

    Dypdykk i hvordan forskjellige utdanningsinstitusjoner strukturerer sine dynamiske skisseringskurs - en sammenligning av CGMA, Brainstorm School, og andre. Fokuserer på ulike tilnærminger til undervisning i formkonstruksjon og visualisering.

  • 00:30:00 - 00:35:00

    En detaljert gjennomgang av perspektiv- og skygge-teknikker. Viktigheten av å bruke enkel formkonstruksjon og skape et volum ved hjelp av skygge og tekstur forklares.

  • 00:35:00 - 00:40:00

    Diskuterer fordelene ved å kombinere enklere former og manipulere disse for å generere mer komplekse kunstverk. Drar fram muligheten til å implementere marine liv som tema i skisser.

  • 00:40:00 - 00:45:00

    Teknikker for å øve på perspektiv og konstruksjon ved hjelp av tredimensjonale ressurser som SketchFab. Dette fremheves som et nyttig verktøy for å bedre forstå datasimulert tegning og strukturer.

  • 00:45:00 - 00:50:56

    Videoen avsluttes med anbefalte ressurser for videre utforskning innen feltet, inkludert bøker, kurs og online opplæring innen både figurtegninger og dyretegninger relatert til dynamisk skissering.

Mehr anzeigen

Mind Map

Mind Map

Häufig gestellte Fragen

  • Hvem er noen av de viktigste figurene i dynamisk skissering?

    Viktige figurer inkluderer Norman Shurman og Peter H, som har hatt stor innflytelse på spredningen av dynamisk skissering.

  • Hva inkluderer læreplanen i dynamisk skissering?

    Læreplanen inkluderer linjearbeid, teksturer, perspektiv, organiske former og lysstrukturer.

  • Hvor kan man ta kurs i dynamisk skissering?

    Kurs tilbys av institusjoner som CG Master Academy (CGMA), Brainstorm School, og New Masters Academy.

  • Hva er noen viktige teknikker innen dynamisk skissering?

    Viktige teknikker inkluderer linjekontroll, formkonstruksjon, perspektivtegning, og teksturarbeid.

  • Hvordan kan man forbedre sine skisseferdigheter?

    Ved å praktisere linjearbeid, perspektiv, og å tegne fra observasjon, samt bruke ressurser som bøker og online kurs.

  • Hva er 'Dynamic Bible'?

    'Dynamic Bible' er en bok av Peter Han som dekker mange grunnleggende og avanserte konsepter innen dynamisk skissering.

  • Hvorfor er perspektiv viktig i skissering?

    Perspektiv er viktig for å forstå hvordan objekter skal plasseres i rommet og for å skape dybde i tegningene.

  • Hvilke materialer er anbefalt for dynamisk skissering?

    Anbefalte materialer inkluderer pigment linealers og tonet papir for å fremheve lys og skygge.

  • Hvilke institusjoner er nevnt som steder for læring?

    Nevnte institusjoner inkluderer CG Master Academy, Brainstorm School, Foundation Group, og New Masters Academy.

  • Hva er noen anbefalte bøker for å lære dynamisk skissering?

    Anbefalte bøker inkluderer 'Framed Drawing Techniques' og 'Dynamic Bible'.

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Untertitel
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Automatisches Blättern:
  • 00:00:00
    hey everyone today I want to talk about
  • 00:00:02
    Dynamic sketching this is a topic that
  • 00:00:04
    is very very dear to me I've studied
  • 00:00:07
    this a lot throughout the years uh and I
  • 00:00:10
    really want to dive deeper into my
  • 00:00:14
    journey my learnings my mistakes and a
  • 00:00:18
    lot of references dive deeper into the
  • 00:00:20
    structure of courses and all of that
  • 00:00:23
    there's no better way to start than
  • 00:00:26
    looking at Norman shurman Norman uh is
  • 00:00:30
    was actually a teacher that passed away
  • 00:00:34
    tragically a few years back he's the
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    first person I can trace back to that
  • 00:00:39
    use the term like Dynamic sketching or
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    visual communication he was a teacher at
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    Art Center College of design and then
  • 00:00:47
    later Peter hun studied probably with
  • 00:00:50
    him I'm not sure but continued his
  • 00:00:54
    teachings there and at cgma a lot of
  • 00:00:58
    other places and the term Dynamic
  • 00:01:01
    sketching and and viscom and so on
  • 00:01:03
    really spread out you can see that his
  • 00:01:06
    work over here really looks like a lot
  • 00:01:10
    of the stuff we've seen around the
  • 00:01:12
    internet on Dynamic sketching so we can
  • 00:01:15
    really Trace back to him uh I love the
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    title of this Sketchbook from him to
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    draw is to see I have discussed this a
  • 00:01:26
    lot in other videos here on the channel
  • 00:01:28
    as well if you want to support his work
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    his legacy as well as his family I'll
  • 00:01:34
    have a link in the description to this
  • 00:01:36
    uh Sketchbook so you can buy it uh I
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    would love to have one as well but it's
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    great to see a little bit of it here and
  • 00:01:45
    there uh on the
  • 00:01:47
    internet so what we're going to cover
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    here today as I said we're going to go
  • 00:01:51
    through the structure of a lot of
  • 00:01:53
    different courses and find similarities
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    and some differences here and there look
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    looking at references especially from
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    artists how to choose them and how they
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    will affect your journey uh along the
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    way some of the tools but especially to
  • 00:02:12
    find your own pace a lot of people tend
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    to focus on going too fast or other
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    staying too long in one specific topic
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    like line quality and so on I want to
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    touch a little bit on that moving
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    forward I think this is the beginning of
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    the drawing Journey can be like
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    understood as a beginning of the drawing
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    Journey but there is a lot to build on
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    top of that especially on the gesture
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    side and I'll talk a lot about that and
  • 00:02:42
    references in the community as always so
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    I would love to hear from you have you
  • 00:02:47
    studied Dynamic sketching to this point
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    what were your experiences how you
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    enjoyed it what uh worked best and so on
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    so I I want to start with these two
  • 00:03:00
    courses they are from CG Master Academy
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    so CG
  • 00:03:06
    cgma uh and they are the beginning from
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    like my understanding of dynamic
  • 00:03:13
    sketching and my experience of dynamic
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    sketching where it began to really
  • 00:03:18
    spread out from like the art centers and
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    and all those California based design
  • 00:03:25
    schools to the rest of the world this is
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    an online course was taught by Peter H
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    in the beginning and then a lot of
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    teachers continued so I want to really
  • 00:03:37
    dive deeper into the structure and use
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    that as a basis for everything that
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    we're going to talk here today Dynamics
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    catching one and I took Dynamics
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    catching one back in the day with Peter
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    hun and I I gotta be honest here I feel
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    the pace is a little it was a little
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    slower than I expected so that's that's
  • 00:03:59
    why I want to look at both those courses
  • 00:04:04
    combined at that time they only had
  • 00:04:07
    Dynamic sketching one and then it grew
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    to Dynamic sketching two if I'm not
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    mistaken but it starts with a lot of
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    line work and building up textures and
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    understanding curves and and drawing
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    over and over again uh perspective a
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    basic look at perspective organic forms
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    then looking a little bit of more on
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    value and the structure for lighting so
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    you will understand form from a point of
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    view of casting shadows and so on as
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    well as going deeper into textures
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    creating depth and volume so combining a
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    lot of those Primitives you can
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    definitely like pause the video and and
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    go through the reading the content
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    drawing from observation this is the
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    first first time we get to specific
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    topics specific things from around us so
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    going to the arborium and and drawing
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    there are some videos around the
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    internet from Peter H and from other
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    people drawing vegetation and so on this
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    is really important this is a a very uh
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    important point and using everything
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    that you learn to redesign to create an
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    original landscape art with vegetation
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    and rocks and different composition and
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    talking a little broader into that topic
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    then it goes into Dynamic sketching two
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    uh so starting with a a brief recap then
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    insects bones youve probably seen a lot
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    of examples from this type of drawings
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    fzd also does a lot of insect and a
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    little bit of the bones so design once
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    again using all the information doing a
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    little bit studies this is the VIS scal
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    visual communication aspects of it so
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    using all this structure that you
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    understood and applying that to
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    something hard surface with cars
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    military vehicles and planes a lot of
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    drawing outside on this one as well
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    there are great videos by Scott
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    Robertson going to the
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    Smithsonian Museum of aircraft and so on
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    so you can find a lot of resources on
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    the internet I'll try and Link all that
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    I can find here in the description below
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    so going forward uh I want to take a
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    look at some other structures so that we
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    begin to understand that is almost the
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    same over and over again so you have an
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    understanding of what they are looking
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    for and how to use it and then we'll go
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    back to the original one and really dive
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    deeper into the examples so materials
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    once again and technique line quality
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    and so on manipulating uh The Primitives
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    as well as organic and geometry shapes
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    to put them together and create a a
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    complex form marine animals so this
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    doesn't have in in what we' seen at
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    cgma but it's a little bit of the
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    organic transformation we'll see other
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    examples later on but the vegetation and
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    simple plants and three trunks you can
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    find a lot of that then it goes into
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    this skeleton and insects that we've
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    seen land animals Fang Zoo talks a lot
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    about this in his video just draw I'm
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    going to add it to the description as
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    well that jumping to something that is
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    less recognizable is easier in the
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    beginning so a rhino you have a lot of
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    room for mistakes when you're building
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    up stuff and then you go more and more
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    complex and more and more relatable to
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    different topics birds will get even
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    more complicated I think that's why new
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    Masters Academy puts uh and this is by
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    Charles who puts vegetation here because
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    trees are going to follow into this
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    category so they're going to be way
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    harder and way more relatable than like
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    simple plants and and and bushes that
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    you are going to find around like your
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    house or or the garden and and and so on
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    costume Fe so getting way more
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    complicated a lot of them don't go as
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    far as figures and we're going to talk
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    about that later on and cars hard
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    surface stuff planes going back to CM
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    cgma we've seen this before if we jump
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    to brainstorm school I'll have a link to
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    brainstorm in the description as well
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    you have two courses two different
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    teachers to different structures so
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    Charles Lim basic fundamental so line
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    control and visualizing form and Form
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    Construction with Primitives so the
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    difference between shape and form and
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    understanding 2D versus 3D adding
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    Contours so really breaking that down
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    we've seen that in the foundation on the
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    video uh on perspective for concept art
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    that I did modern day James Goes a lot
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    into breaking down simple Primitives
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    into complex form texture once again
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    going into and getting more and more
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    complex so building with all those
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    Primitives and all those Transformations
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    that we did on top of them addressing
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    form uh versus shape and probably using
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    a lot of different examples that he
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    doesn't mention here and now it goes
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    very specific with uh getting from the
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    big to the small and using point of
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    Interest composition texture density and
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    so on to really create readability and
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    then in my opinion it goes a little bit
  • 00:10:04
    on a tangent here going broader and BR
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    into like action sequences and uh
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    narrative
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    sequencing Michael Hampton on the other
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    hand is very close to the structure
  • 00:10:18
    we've seen so far uh so basic the
  • 00:10:21
    mechanics of drawing lines curves
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    Plaines ellipses organic forms and all
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    that we tend to relate to Dynamics
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    catching uh the basic form constructions
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    and
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    Transformations so modifications here uh
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    expanded into wiek three organic form so
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    plants and textures and point of
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    Interest texture density and guiding the
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    eye and all of that principles of
  • 00:10:51
    lighting so casting a little bit of
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    Shadows different lighting conditions
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    and so on aquatic or Marine life as we'
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    seen with new Masters Academy another
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    great uh addition here in in my opinion
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    I have a video on drawing fish as well I
  • 00:11:08
    learned a lot from that and we're going
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    to talk about that here today insects
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    hard surface and animals going more and
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    more complex and more and more relatable
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    if we look at Foundation group I have a
  • 00:11:25
    video on drawing for concept art and and
  • 00:11:28
    perspective for concept art discussing a
  • 00:11:30
    lot of this but they have very specific
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    videos that I think go into the topic of
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    dynamic sketching so the two basic ones
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    will go over combining simple forms
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    transforming and getting to this hard
  • 00:11:45
    surface structures that are not as
  • 00:11:48
    relatable they are a little bit on the
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    creative license aspect so you can go
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    crazy and not follow something that
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    really exists in the world so you can
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    practice your perspective persective and
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    construction even using fzd tends to go
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    and use a a tractor uh we're going to
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    see a little bit of those examples later
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    on shading so a little bit of the
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    lighting situations that we've seen
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    before organic construction marine
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    animals uh so two interesting tutorials
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    on this insects and Bones uh land
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    animals as we seen before going more
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    complex and studying more those animals
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    and breaking down uh their
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    structure getting more and more
  • 00:12:34
    relatable as we were talking before hard
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    surface so vehicles vehicles and animals
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    with cast casting Shadows going deeper
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    into casting Shadows using the brush pen
  • 00:12:47
    these are tutorials by John Park really
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    good structure of architecture something
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    that I really feel that we should add to
  • 00:12:55
    Dynamic sketching and we don't go that
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    route I don't know why I would love to
  • 00:13:00
    hear more but Foundation does go into
  • 00:13:03
    that uh here with Dynamic sketching
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    architecture and theme park so getting
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    more and more creative and then you can
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    even light your environments so I think
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    this is a great structure you see that
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    I'll go back to that these are super
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    affordable tutorials so you can get
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    started and you can get really going
  • 00:13:25
    these are 20 tutorials then you can have
  • 00:13:29
    for a quarter of what a course would
  • 00:13:33
    cost you and really go a long way just
  • 00:13:36
    following
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    these and finally some of the references
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    uh I mentioned some of them before but
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    look up these people so uh Andrew Kel
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    teaches at CDA concept Design Academy or
  • 00:13:52
    used to teach so you can find some of
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    his work and really dive deeper Norm
  • 00:13:57
    shurman uh Charles who Sor kin uh she
  • 00:14:02
    has a tutorial on domasa I'll have a
  • 00:14:05
    link in the description as well all the
  • 00:14:07
    courses at brainstorm we saw Charles
  • 00:14:10
    Lynn and Michael Hampton as well and
  • 00:14:13
    here Peter H and Patrick balleros from
  • 00:14:18
    back in the day uh at CDA concept Design
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    Academy I do believe Patrick is still
  • 00:14:24
    teaching I don't know on which platform
  • 00:14:27
    and we also have Charles who at new
  • 00:14:30
    Masters Academy and I think he has some
  • 00:14:33
    of them at nman Workshop as well I'll
  • 00:14:36
    have all links everything I remember
  • 00:14:39
    will be in the description but please do
  • 00:14:42
    share what are your favorite resources
  • 00:14:45
    what have you learned the most and we
  • 00:14:47
    can definitely learn from those so let's
  • 00:14:50
    jump on some really actionable stuff and
  • 00:14:54
    reinforce all that we have discussed so
  • 00:14:57
    far so starting with with the techniques
  • 00:15:01
    and
  • 00:15:03
    draftsmanship here are some of the
  • 00:15:05
    examples of materials I use so the
  • 00:15:08
    Stadler pigment liner a lot of those
  • 00:15:10
    courses tend to recommend those as well
  • 00:15:14
    and some tone paper so I love this
  • 00:15:17
    thread more uh but you can find a lot of
  • 00:15:20
    different resources from this I'll have
  • 00:15:23
    links in the description for some
  • 00:15:26
    options as well so this is where you
  • 00:15:29
    start doing a lot of this line work and
  • 00:15:33
    really getting better and better this is
  • 00:15:35
    the beginning of the work I did I did a
  • 00:15:38
    lot of this so you can see practicing
  • 00:15:41
    and really like lightly and just talking
  • 00:15:46
    to people and doing this kind of stuff
  • 00:15:48
    and getting better and better at that
  • 00:15:50
    you don't need to be great you can see a
  • 00:15:54
    lot of the work done here is not that
  • 00:15:57
    good but it's practicing you get better
  • 00:16:01
    and better throughout the time you can
  • 00:16:04
    see a little bit of the texture uh
  • 00:16:06
    studies here as well and a little bit of
  • 00:16:09
    the organic shapes that we're going to
  • 00:16:11
    be talking later on and five basic
  • 00:16:14
    primitive sources so combining a lot of
  • 00:16:17
    the stuff in the warm-ups and doing them
  • 00:16:20
    over and over again will teach you more
  • 00:16:22
    of your perception of ellipses and
  • 00:16:25
    placement of perspective but also also
  • 00:16:29
    really going deeper and deeper into your
  • 00:16:31
    craft I love a book by Marcos mat
  • 00:16:35
    Mastery on this
  • 00:16:37
    topic frame drawing techniques I think
  • 00:16:40
    this is one of the best out there in
  • 00:16:42
    helping with the draftsmanship so a
  • 00:16:45
    great addition here going Direct on pen
  • 00:16:49
    if you're using pencil that is a little
  • 00:16:51
    more per missive as well I think it will
  • 00:16:55
    be interesting some people don't like it
  • 00:16:57
    because you need to commit when you're
  • 00:16:59
    going with pen but if you're having a
  • 00:17:02
    very hard time I would consider going
  • 00:17:05
    penil first and really building your way
  • 00:17:09
    uh to the pen and having more of that
  • 00:17:12
    confidence you can compare yourself too
  • 00:17:14
    much at this early stage if you look at
  • 00:17:17
    the stuff that we are seeing here with
  • 00:17:19
    what we've just seen from my old work
  • 00:17:22
    it's crazy the difference and you can
  • 00:17:24
    feel really frustrated really quickly
  • 00:17:27
    that's why I really encourage uh doing
  • 00:17:29
    some pencil work as well so that you can
  • 00:17:32
    make correction and so on uh jumping the
  • 00:17:35
    next topic as we've seen before is
  • 00:17:38
    perspective uh so a lot of different
  • 00:17:41
    exercises can be done in here I've
  • 00:17:45
    talked extensively about this on my
  • 00:17:47
    video on perspective for concept art you
  • 00:17:50
    definitely should check that out it goes
  • 00:17:52
    deeper into grids and all of that but
  • 00:17:55
    even Standalone stuff you can do a a lot
  • 00:17:58
    of exercises trying to place boxes in
  • 00:18:01
    perspective and getting more and more
  • 00:18:05
    complicated so building uh different
  • 00:18:08
    shapes out of bricks and those simple
  • 00:18:12
    structures a tractor as we've talked
  • 00:18:15
    before this is used as an example at F
  • 00:18:19
    fzd and it's really useful to visualize
  • 00:18:23
    simple form construction you can really
  • 00:18:26
    simplify the tire two boxes and it will
  • 00:18:30
    really work in this beginning and here
  • 00:18:34
    some more
  • 00:18:36
    examples but this is where you can see a
  • 00:18:39
    lot of my mistakes from doing this
  • 00:18:42
    without any kind of reference and even
  • 00:18:44
    without the horizon line so you can see
  • 00:18:47
    the points here I tried a little bit
  • 00:18:50
    tracing back to see where they went you
  • 00:18:53
    you can see a little bit of the mistakes
  • 00:18:56
    uh more of a fishey structure and we
  • 00:18:58
    discussed this on the video on
  • 00:19:00
    perspective if we had a horizon line
  • 00:19:02
    here that had two Vanishing points that
  • 00:19:04
    are so close to each other we would
  • 00:19:07
    definitely have something that starts
  • 00:19:09
    curving so actually actually curving way
  • 00:19:13
    more intense than this we've seen that
  • 00:19:17
    on Kim juni's work and and so on so be
  • 00:19:21
    really careful about this and this is
  • 00:19:24
    where I want to suggest a different
  • 00:19:26
    approach from what we see in draw box
  • 00:19:29
    the 200 boxes challenge 200 cylinders
  • 00:19:34
    and all of that using sketch Fab as a
  • 00:19:38
    basis for your three-dimensional drawing
  • 00:19:42
    and you can definitely find that a
  • 00:19:43
    little weird but I really want to dive
  • 00:19:46
    deeper here uh this is a 3D art selling
  • 00:19:51
    platform and showcasing platform but you
  • 00:19:53
    can really learn a lot from it so if you
  • 00:19:55
    go here on the search and just search
  • 00:19:57
    for for boxes for example we'll find
  • 00:20:00
    some examples of boxes in the 3D space
  • 00:20:04
    then we can definitely use that to draw
  • 00:20:06
    them from different directions and you
  • 00:20:09
    see that the horizon line uh the the
  • 00:20:12
    conversion to the horizon line is going
  • 00:20:14
    in that direction as well as that
  • 00:20:16
    direction uh if you go further away you
  • 00:20:19
    have less Distortion and we really dis
  • 00:20:22
    uh discuss grids and Distortion in my
  • 00:20:25
    video on perspective for concept art
  • 00:20:28
    here you can see almost like a onepoint
  • 00:20:32
    situation um you can even move that
  • 00:20:35
    around a bit so you have a different
  • 00:20:39
    Viewpoint a different perspective you
  • 00:20:41
    can see them even from below so the
  • 00:20:44
    horizon line will be lower and you can
  • 00:20:47
    really use this as a basis for drawing
  • 00:20:52
    boxes drawing the 300 250 challenge that
  • 00:20:57
    you have something else you could use
  • 00:21:00
    are dice so even the ellipses on the
  • 00:21:04
    surface can be really useful so you find
  • 00:21:07
    the minor axis of the ellipses if you
  • 00:21:10
    know what I mean if you've seen this
  • 00:21:12
    before you can really find those minor
  • 00:21:15
    axes in three points and in two point
  • 00:21:18
    situation go further
  • 00:21:21
    away more example of dice on on top of a
  • 00:21:26
    table so you can see how they project
  • 00:21:29
    the shadow as well uh and here more
  • 00:21:32
    Shadow projection in different
  • 00:21:34
    directions far away you can move them to
  • 00:21:37
    the uh edge of your uh picture plane and
  • 00:21:42
    so on so really really useful we're
  • 00:21:45
    going to see that again with fish later
  • 00:21:48
    on but I wanted to go uh to a a tractor
  • 00:21:52
    as well so I love this you can draw it
  • 00:21:55
    from different directions and really try
  • 00:22:00
    and draw the same subject from different
  • 00:22:03
    points of view uh from closeups too far
  • 00:22:07
    away uh it's really really useful
  • 00:22:10
    another simple one simple version very
  • 00:22:13
    similar to what we saw in that drawing
  • 00:22:15
    that I just showed so really use this
  • 00:22:18
    try doing like five of this in the same
  • 00:22:22
    page in different directions do some of
  • 00:22:24
    them from memory and see if you're
  • 00:22:26
    getting that so I I drew from reference
  • 00:22:29
    in this View and now I want to do one
  • 00:22:32
    from memory in this one and try and
  • 00:22:34
    build all those kind of stuff and then
  • 00:22:36
    go back here and see if I got some of
  • 00:22:39
    them right and even like this direction
  • 00:22:42
    uh From Below you can see it far away so
  • 00:22:45
    if it's in a hue or something like that
  • 00:22:47
    and you are not seeing uh the bottom
  • 00:22:50
    Parts you can definitely do that as well
  • 00:22:53
    so very very good
  • 00:22:56
    practice so so going back to our
  • 00:22:59
    structure the next topic is organic
  • 00:23:02
    forms so diving deeper into those
  • 00:23:05
    constructions and now understanding a
  • 00:23:08
    little bit of the lighting that is going
  • 00:23:10
    to be the next topic but you can already
  • 00:23:13
    understand the Terminator I talked about
  • 00:23:15
    this on my video on values using color
  • 00:23:18
    and light and how to render to really
  • 00:23:21
    understand form and how to project those
  • 00:23:24
    shadows and so on so really go there uh
  • 00:23:28
    and look at this learn more and more so
  • 00:23:30
    that you convey a lot with as little as
  • 00:23:35
    possible so you can see here I didn't
  • 00:23:38
    use a lot of different values it's just
  • 00:23:42
    the Terminator Shadow a cast Shadow and
  • 00:23:45
    some highlights and the tone paper is
  • 00:23:47
    great for doing this kind of highlights
  • 00:23:49
    and it's enough going on to textures uh
  • 00:23:53
    once again uh so really going deep into
  • 00:23:56
    this I was really really lazy when I
  • 00:24:00
    started doing this kind of thing and and
  • 00:24:03
    just doing for the quantity and not
  • 00:24:06
    understanding a little more what I was
  • 00:24:08
    doing but one after the other I started
  • 00:24:12
    getting my hat around that and once we
  • 00:24:15
    get to
  • 00:24:16
    vegetation we really start understanding
  • 00:24:19
    how useful this this in bringing the eye
  • 00:24:23
    to the right Point having a great
  • 00:24:26
    composition in your work so the lighting
  • 00:24:30
    aspects once again I want to highlight
  • 00:24:32
    these amazing tutorials by uh the
  • 00:24:35
    foundation group so both these basic
  • 00:24:40
    ones with two values as well as full
  • 00:24:43
    value structure are really great and
  • 00:24:45
    they have a lot of a lot of other ones
  • 00:24:47
    on this I'll add a link to my video on
  • 00:24:50
    the topic to the description as well so
  • 00:24:53
    some of my work using some Scott
  • 00:24:57
    Robertson's stuff to understand planes
  • 00:25:00
    as well as Primitives I use a lot of
  • 00:25:02
    marker here as well I forgot to mention
  • 00:25:06
    but I was using a little bit of Market
  • 00:25:08
    but you can do that with graphite on top
  • 00:25:11
    or even with hatching a lot of examples
  • 00:25:14
    from Marcos mat's Mastery Book frame
  • 00:25:17
    Tech drawing techniques will be really
  • 00:25:20
    helpful to the to do this kind of stuff
  • 00:25:23
    and the two value ones are really really
  • 00:25:26
    hard these are from tutorial from John
  • 00:25:29
    Parks scum wrad I'll add the link to the
  • 00:25:31
    description as well but they are really
  • 00:25:33
    really interesting to get wrap your head
  • 00:25:36
    around the problem of using
  • 00:25:38
    simplification to convey
  • 00:25:41
    three-dimensionality in your work so
  • 00:25:44
    going back and getting more and more
  • 00:25:46
    complex now it's all about like
  • 00:25:49
    connecting those primitive shapes we
  • 00:25:51
    talked about this before these are some
  • 00:25:54
    great tutorials again from the
  • 00:25:56
    foundation group a simple gun done can
  • 00:25:58
    be really useful to understand the
  • 00:26:00
    cylinders and how light is falling on
  • 00:26:03
    them as well as very simple the tractor
  • 00:26:07
    will fall into this category here as
  • 00:26:09
    well so you can start understanding
  • 00:26:12
    sizes relationships conversion in
  • 00:26:14
    perspective and so on as I said before
  • 00:26:18
    fzd has some great examples on using
  • 00:26:21
    this simplified Primitives and Beauty on
  • 00:26:24
    top of that I know I'm getting a little
  • 00:26:26
    ahead of myself with some of the
  • 00:26:28
    vehicles here but I hope at this point
  • 00:26:31
    you can definitely understand what I'm
  • 00:26:33
    talking about and how to build on top of
  • 00:26:36
    all of that to get to something like
  • 00:26:39
    this if we look at some of the work that
  • 00:26:41
    I did and we've seen uh this a little
  • 00:26:44
    bit com uh something similar before this
  • 00:26:48
    is from Foundation group so connecting a
  • 00:26:51
    lot of those simple shapes and extruding
  • 00:26:54
    parts and transforming some of the parts
  • 00:26:57
    uh rounding out some of them using the
  • 00:27:01
    basic principles from the organic shapes
  • 00:27:05
    and doing a lot of those
  • 00:27:08
    exercises a little bit of vegetation so
  • 00:27:11
    once again ahead of myself to some
  • 00:27:14
    extent but starting to get more real
  • 00:27:18
    from uh the textures this is where the
  • 00:27:21
    textures become really important and how
  • 00:27:24
    you're using them and just like
  • 00:27:26
    suggesting other parts
  • 00:27:28
    so more examples from this kind of
  • 00:27:31
    concept going a little crazy sometimes
  • 00:27:34
    and trying to get as far as you can uh
  • 00:27:38
    and and play with that a little bit and
  • 00:27:41
    adding some of the details so this is a
  • 00:27:43
    little bit of a copy uh from what you
  • 00:27:46
    can see on those tutorials so I would
  • 00:27:49
    highly recommend even doing different
  • 00:27:51
    views I I think I went too close to the
  • 00:27:54
    original views if we go back to The
  • 00:27:57
    Source material here you can see that
  • 00:28:00
    it's too close and I would do it from a
  • 00:28:03
    different angle I think it's going to be
  • 00:28:05
    really helpful and now observation we go
  • 00:28:09
    into vegetation and so on so I think
  • 00:28:13
    it's this is one of the best courses out
  • 00:28:16
    there sketch sketching anything by Aon
  • 00:28:18
    lonic I really learned a lot from this
  • 00:28:21
    especially this demo uh and using a lot
  • 00:28:26
    of the texture
  • 00:28:28
    and value density as well as form and
  • 00:28:32
    form Direction ellipses and so on to
  • 00:28:35
    convey this three-dimensionality is
  • 00:28:38
    really really useful and even for rocks
  • 00:28:41
    having a direction of what here you can
  • 00:28:44
    see it uh having really this volumetric
  • 00:28:49
    sensation to everything that you're
  • 00:28:51
    drawing is really really important and
  • 00:28:54
    it's hard uh this is a failed attempt
  • 00:28:57
    ATT from back in the day so some of the
  • 00:29:00
    work uh that I did and you definitely
  • 00:29:03
    get better and better with time and
  • 00:29:07
    start controlling a little more of the
  • 00:29:10
    textures
  • 00:29:12
    values where to put details and where to
  • 00:29:15
    leave it just as a suggestion uh even
  • 00:29:19
    here with some rocks the direction and
  • 00:29:22
    three-dimensionality I love this book by
  • 00:29:25
    Sarah
  • 00:29:26
    simblet here is one of the best examples
  • 00:29:30
    of this how your eye is going here in
  • 00:29:35
    this direction because of the texture
  • 00:29:38
    density the value density it's really
  • 00:29:41
    guiding your eye so you're defining that
  • 00:29:44
    this is the most important part I know
  • 00:29:46
    this is a tutorial it's a drawing class
  • 00:29:49
    on this topic but it works really well
  • 00:29:53
    as an example of a drawing you don't
  • 00:29:55
    need to render everything if you want to
  • 00:29:57
    convey something specific so if you were
  • 00:30:00
    drawing this flower you can do more
  • 00:30:03
    design of the details and textures in
  • 00:30:06
    here and then your eye will just go up
  • 00:30:11
    there so going back to the structure now
  • 00:30:14
    I want to go to new Master's Academy
  • 00:30:17
    because of drawing marine animals before
  • 00:30:21
    we go into insect and back to the
  • 00:30:23
    original part I talked about this in
  • 00:30:27
    another video here on the channel
  • 00:30:29
    drawing fish so you should definitely
  • 00:30:31
    see that but here are some some of the
  • 00:30:34
    tutorials from the foundation group I
  • 00:30:36
    really learned a lot from this and we're
  • 00:30:38
    going to see some of the
  • 00:30:40
    examples uh they really go deep into
  • 00:30:43
    this topic and some of my work from that
  • 00:30:47
    tutorial specifically as you can see I
  • 00:30:50
    really tend to go more on the copy mode
  • 00:30:54
    and that was really detrimental to my
  • 00:30:56
    learning process throughout the years so
  • 00:30:59
    I should have done this from a different
  • 00:31:02
    angle so that I can understand how to do
  • 00:31:04
    that on my own drawing and not just copy
  • 00:31:07
    the solutions that they did I definitely
  • 00:31:10
    can do some copies to get a grasp of
  • 00:31:13
    what they're doing and get better get
  • 00:31:15
    better in my draftsmanship but doing
  • 00:31:18
    more from observation from different
  • 00:31:21
    angles for getting my own reference and
  • 00:31:24
    even drawing some from memory or
  • 00:31:26
    imagination will really go a long way so
  • 00:31:29
    these are from other references I did
  • 00:31:31
    later on trying to really organize the
  • 00:31:34
    the readability uh some birds so getting
  • 00:31:36
    ahead of ourselves but this is important
  • 00:31:39
    as well don't get caught in the idea
  • 00:31:42
    that you need to master a topic so you
  • 00:31:46
    can go to the next if you want to draw
  • 00:31:47
    Bird go there even like fail and then go
  • 00:31:51
    back and and and back and forth and
  • 00:31:53
    having fun with this process this is uh
  • 00:31:56
    really important an part having fun just
  • 00:31:59
    drawing being mindful is where you learn
  • 00:32:03
    but having fun is where you continue
  • 00:32:07
    where you persist so this is why
  • 00:32:10
    sometimes going to other topics it's
  • 00:32:13
    great and here are some newer examples
  • 00:32:17
    also adding a little bit more amphibians
  • 00:32:20
    and and going that route getting a
  • 00:32:22
    little closer to what the insects will
  • 00:32:25
    be with symmetry so you have more
  • 00:32:28
    symmetry in here in a little bit
  • 00:32:30
    reptiles here with snakes that is also
  • 00:32:35
    another topic that I did a video here on
  • 00:32:37
    the channel so going into fish and we
  • 00:32:41
    can get back in this moment to Gathering
  • 00:32:44
    reference I tended to go with static
  • 00:32:48
    reference as I don't have like an
  • 00:32:51
    aquarium or or something like that to go
  • 00:32:53
    to I ried too much on that Source
  • 00:32:57
    material it's great for practicing
  • 00:33:00
    draftsmanship and composition driving
  • 00:33:03
    the eye textures where you're going to
  • 00:33:06
    put them and where not so there's a lot
  • 00:33:10
    to learn from this but this is where I
  • 00:33:13
    want to go back to sketch Fab and here
  • 00:33:16
    you can see we even have some animation
  • 00:33:20
    you can see the fish from different
  • 00:33:23
    angles and you can even pause the
  • 00:33:26
    animation if you want or have a static
  • 00:33:29
    pose I don't like all the poses they
  • 00:33:33
    feel a little uh static too static so I
  • 00:33:38
    I prefer getting the animation going and
  • 00:33:41
    pausing whenever I want so I can really
  • 00:33:44
    go around and and look for different
  • 00:33:46
    poses that look more uh alive other fish
  • 00:33:53
    here uh this is one of the drawings I
  • 00:33:57
    did uh you may recognize the
  • 00:34:01
    textures and all of that I think this is
  • 00:34:04
    great you can draw it multiple times
  • 00:34:06
    sorry Kim did a lot of studies and I
  • 00:34:08
    comment on this on my video on snakes
  • 00:34:11
    specifically because this is more of a
  • 00:34:13
    cylindrical uh being so it's great to
  • 00:34:17
    understand how to convey this organic
  • 00:34:19
    form as well as organize those textures
  • 00:34:22
    and readability this is moving a lot so
  • 00:34:25
    you can have
  • 00:34:27
    once again you can pause and find some
  • 00:34:29
    poses and even go around with those
  • 00:34:32
    poses and draw try drawing from memory
  • 00:34:36
    in different uh orientations from
  • 00:34:38
    different perspectives and get the
  • 00:34:42
    reference to that perspective to see
  • 00:34:44
    where you were right and what went wrong
  • 00:34:47
    you can even go really really crazy uh
  • 00:34:52
    and have a lot of different fish uh you
  • 00:34:55
    can have one or more in in the same
  • 00:34:59
    composition uh and add them and look at
  • 00:35:02
    all of them from different angles and
  • 00:35:05
    even some close up and and and other far
  • 00:35:08
    away and you can find a lot of different
  • 00:35:11
    references here on scat fat as the next
  • 00:35:14
    topic we're going to be seeing is
  • 00:35:17
    insects uh it's also really interesting
  • 00:35:21
    here it's very hard to find great
  • 00:35:23
    reference to draw from uh on insects so
  • 00:35:27
    this is where looking from different
  • 00:35:29
    angles and understanding that Symmetry
  • 00:35:31
    and that perspective will really really
  • 00:35:34
    go along long way and you can see this
  • 00:35:37
    one some of them will have animations
  • 00:35:39
    some of them will not uh and even uh
  • 00:35:42
    spiders U there is a very good example
  • 00:35:46
    on spiders uh this one even animated so
  • 00:35:50
    you can find the right poles that you
  • 00:35:52
    want it's even nightmare uh inducing for
  • 00:35:56
    some people that are like me uh so
  • 00:35:59
    really great you can see from a lot of
  • 00:36:01
    angles you can see from up here uh this
  • 00:36:04
    is where I don't like this static pose
  • 00:36:07
    because it almost like looks dead or
  • 00:36:11
    even if you go to a natural history
  • 00:36:13
    museum and you see the insects they kind
  • 00:36:15
    of tend to look like this if you go back
  • 00:36:18
    to the animation you see that the poles
  • 00:36:20
    changes a lot so I would go with this
  • 00:36:23
    and just pause that in in something that
  • 00:36:26
    looks looks great and draw from that so
  • 00:36:29
    this is nice one leg is up so I think
  • 00:36:33
    this is a great uh approach to drawing
  • 00:36:35
    this you can even see the cast Shadow
  • 00:36:39
    here you can definitely learn a lot from
  • 00:36:41
    those references using some of the
  • 00:36:43
    guidance here from Foundation group I
  • 00:36:46
    love this one about Charles limb talking
  • 00:36:48
    even about design uh in small medium and
  • 00:36:53
    large shapes and how to organize them
  • 00:36:55
    and how to look at at some different
  • 00:36:58
    insects and understand the the breakdown
  • 00:37:01
    of those shapes and and how even on the
  • 00:37:05
    design side as we saw the design
  • 00:37:08
    directions that were given here so using
  • 00:37:14
    uh so here insects and bones and
  • 00:37:16
    creative uh creating a design process
  • 00:37:19
    this is where you're going to use a lot
  • 00:37:21
    of those Concepts and start buing on top
  • 00:37:24
    of that so here some of my examples uh
  • 00:37:28
    pretty rough I haven't drawn from
  • 00:37:30
    different directions the same
  • 00:37:33
    species in it would be awesome to use
  • 00:37:36
    sketch Fab I'll definitely go back to
  • 00:37:38
    that now that I I know that I didn't
  • 00:37:41
    have this info when I was studying this
  • 00:37:44
    and and starting out the next topic is
  • 00:37:48
    bones and I'm really passionate about
  • 00:37:51
    what this one if you seen my video on
  • 00:37:53
    art as a hobby uh you will definitely
  • 00:37:57
    know that so a lot of examples here
  • 00:38:00
    first with the prehistoric bones and
  • 00:38:03
    Bones in general uh prehistoric ones you
  • 00:38:07
    will get more of a creative license as
  • 00:38:10
    it's not that relatable and when you get
  • 00:38:13
    closer and closer even to the human
  • 00:38:15
    figure and drawing skeleton it's way
  • 00:38:18
    less permissive and those mistakes will
  • 00:38:21
    be really clear uh it's the same if you
  • 00:38:24
    draw a kangaroo and you draw lion the
  • 00:38:27
    lion will be way harder because we don't
  • 00:38:30
    see Lions a lot of the time also a rhino
  • 00:38:34
    here you can definitely draw them with a
  • 00:38:38
    more permissive approach if you see the
  • 00:38:40
    eye here is in different positions in
  • 00:38:44
    the ears related to the eye so you you
  • 00:38:48
    have a little more room to make mistakes
  • 00:38:51
    that and and drawing at the zoo is also
  • 00:38:54
    great I talk also about that on my video
  • 00:38:58
    art as a
  • 00:38:59
    hobby so some of my work here uh some
  • 00:39:03
    examples drawing from
  • 00:39:06
    Life uh this one from reference of
  • 00:39:08
    course but a lot of them from natural
  • 00:39:11
    history museums uh as well I think those
  • 00:39:15
    are from reference trying to understand
  • 00:39:17
    more of the form as a whole I think this
  • 00:39:20
    one might be from uh real
  • 00:39:24
    life and also some of the exercises I
  • 00:39:27
    did for the foundation uh so Birds here
  • 00:39:32
    I I won't go a lot into other animal
  • 00:39:35
    stuff so this is why birds are here as
  • 00:39:38
    well and you can see this one I talked
  • 00:39:41
    about in the video of art as a hobby I
  • 00:39:45
    love this drawing I love uh the whole
  • 00:39:49
    environment it was done so it's really
  • 00:39:52
    great to use a lot of what we learned
  • 00:39:54
    even some of the lines are following the
  • 00:39:58
    volume here and I'm trying to bring your
  • 00:40:02
    eye here using the density of details as
  • 00:40:07
    well as the values here the line values
  • 00:40:11
    and contrast trying to bring the eye
  • 00:40:14
    here and even leaving some things
  • 00:40:17
    suggested instead instead of described
  • 00:40:19
    so you can really go here it's a
  • 00:40:22
    different approach I'm using graphite
  • 00:40:24
    but the concepts are pretty much the
  • 00:40:26
    same there are lots of books on this
  • 00:40:29
    topic so Ken Hooten is very famous Joe
  • 00:40:34
    Weatherly one of my favorites you have a
  • 00:40:37
    whole course from him on new Masters
  • 00:40:39
    Academy as well and Tarot wilch if
  • 00:40:42
    you're buauty on top of Bones and
  • 00:40:44
    understanding muscles and all of that
  • 00:40:47
    this is the way to go she also has
  • 00:40:49
    courses on schoolism so really great
  • 00:40:52
    resource as well and if you go back to
  • 00:40:56
    sketch Fab you can also see here a model
  • 00:40:59
    of a rhino so you can draw from
  • 00:41:01
    different directions and really look
  • 00:41:03
    around sketch Fab you can find amazing
  • 00:41:06
    even bones so Anatomy
  • 00:41:10
    animal you can definitely look around
  • 00:41:13
    and find some great examples to draw
  • 00:41:16
    from I love these uh Lions and the same
  • 00:41:21
    artist has also a horse and you can
  • 00:41:25
    support the artist is as well buying the
  • 00:41:27
    models if you want to really uh do that
  • 00:41:30
    it would be awesome so more of an aier
  • 00:41:33
    approach so you have the bones you have
  • 00:41:35
    the muscles and you have the fully
  • 00:41:37
    flashed one and you can draw from
  • 00:41:40
    different angles and really learn from
  • 00:41:42
    this I would love to see a platform to
  • 00:41:44
    be honest doing more of these and using
  • 00:41:48
    this I think new Masters Academy could
  • 00:41:50
    really do that and have some of those
  • 00:41:52
    models spread out so you can add the
  • 00:41:55
    layer and really understand that and use
  • 00:41:58
    this as a drawing basis they do have the
  • 00:42:01
    3D part but it's too focused on
  • 00:42:04
    primitive shapes as well as uh plaster
  • 00:42:07
    casts and also the figure but I would
  • 00:42:10
    love to see more examples and and you
  • 00:42:13
    can even go into architecture here as
  • 00:42:16
    well so house and you and this is the
  • 00:42:20
    next topic we're going to be talking
  • 00:42:21
    about find something that looks more
  • 00:42:24
    realistic uh some of them are going to
  • 00:42:27
    be looking too cartoony here and then
  • 00:42:30
    you go can go to like cartoon and
  • 00:42:32
    Distortion later on but you can really
  • 00:42:35
    find great reference even this more
  • 00:42:37
    cartoony stuff uh for the theme park
  • 00:42:41
    tutorial that we're going to be seeing
  • 00:42:43
    in a
  • 00:42:44
    bit it's really really
  • 00:42:47
    useful so it takes some time to load but
  • 00:42:50
    you get there so great you can draw from
  • 00:42:54
    different angles so awesome awesome
  • 00:42:57
    resource of
  • 00:43:00
    study the next topic that cgma goes into
  • 00:43:03
    is hard surface so a lot of vehicles and
  • 00:43:07
    you have the same here with the
  • 00:43:09
    foundation group we saw this before very
  • 00:43:12
    briefly and now we can dive deeper into
  • 00:43:14
    more and more complex we saw that with
  • 00:43:16
    fzd as well uh so some of my work here
  • 00:43:20
    from uh references all over the internet
  • 00:43:23
    as well as from life so this is really
  • 00:43:26
    hard because from far away we can see
  • 00:43:29
    the details but if we get to close it
  • 00:43:31
    starts distorting a little bit of the
  • 00:43:33
    perspective so you can see a little bit
  • 00:43:35
    of distortion here you can definitely
  • 00:43:37
    find cars and tractors as we've seen on
  • 00:43:40
    sketch Fab and use them uh as a
  • 00:43:44
    reference as I mentioned before cgma
  • 00:43:47
    doesn't go into architecture but
  • 00:43:50
    Foundation group does uh and even a lot
  • 00:43:53
    of the other resources don't go into
  • 00:43:55
    this this but I find it to be really
  • 00:43:57
    important so take your time these are
  • 00:44:00
    some of the tutorials that they have uh
  • 00:44:03
    I really like this one and this one as
  • 00:44:06
    well some of my work on the topic I
  • 00:44:10
    really love
  • 00:44:11
    drawing this architecture and details
  • 00:44:15
    I've discussed this on the art as a
  • 00:44:17
    hobby video as well and these are some
  • 00:44:21
    of my favorite books on the topic I
  • 00:44:24
    really love this one spe specifically as
  • 00:44:26
    well as this one by Christian shwal I'll
  • 00:44:29
    have links to all of them in the
  • 00:44:33
    description as a final resource that I
  • 00:44:35
    want to share on this topic Peter Hun's
  • 00:44:39
    Dynamic Bible I think this is a great
  • 00:44:41
    book covering all those these topics are
  • 00:44:45
    very good notes on really understanding
  • 00:44:48
    perspective conversion directions
  • 00:44:51
    combination of different Primitives and
  • 00:44:54
    so on so some more pages and examples
  • 00:44:58
    he's really really great with his
  • 00:45:00
    draftsmanship so I definitely recommend
  • 00:45:03
    this I said this before but Marcos mat
  • 00:45:06
    Master is also really great so as a
  • 00:45:09
    final topic I want to
  • 00:45:11
    discuss is some extra materials and
  • 00:45:15
    extra courses for us to go through
  • 00:45:17
    especially if you're going into more the
  • 00:45:19
    figure drawing and animal drawing route
  • 00:45:23
    so some courses I I collected did from
  • 00:45:26
    cgma as well and I really want to dive
  • 00:45:30
    deeper on what's different about them
  • 00:45:32
    here are the content descriptions so you
  • 00:45:35
    can definitely dive deeper later on and
  • 00:45:38
    have uh look at this uh and and read
  • 00:45:41
    through that uh step by step but I I
  • 00:45:44
    really want to jump in and take a
  • 00:45:47
    look as you can see solid drawing is
  • 00:45:52
    just the
  • 00:45:53
    beginning after theu structure goes
  • 00:45:56
    through a lot of the basic principles
  • 00:45:58
    that are going to be covered throughout
  • 00:46:00
    the whole course goes into three
  • 00:46:03
    dimensionality and construction basics
  • 00:46:06
    of construction but after that it
  • 00:46:09
    expands so exaggerating the gesture in
  • 00:46:13
    in the references are really good so
  • 00:46:15
    Walt stenfield as a basis for this one
  • 00:46:19
    and really understanding and and we've
  • 00:46:21
    talked about this before understanding
  • 00:46:23
    weight distribution and how people
  • 00:46:26
    stand up sit down how they distribute
  • 00:46:29
    their uh emotions in the way they
  • 00:46:32
    position themselves and all of that
  • 00:46:35
    connection action uh instruction through
  • 00:46:38
    design so Mark Davies and mute call as
  • 00:46:41
    an example Advanced gesture and
  • 00:46:43
    storytelling so Frank Thomas and Oli
  • 00:46:45
    Johnson here so you can see that the
  • 00:46:48
    examples being used are really great and
  • 00:46:51
    some of the books I'm going to bring up
  • 00:46:54
    in a bit so the costume figure that was
  • 00:46:57
    brought in in new Masters Academy
  • 00:47:00
    structure by by Charles who you can
  • 00:47:03
    really go deeper in here and really have
  • 00:47:06
    a lot of those influences and a lot of
  • 00:47:09
    different understandings before going
  • 00:47:12
    into it Walt stenfield once once again
  • 00:47:16
    so this is really great being interested
  • 00:47:19
    in what you're sketching so Master
  • 00:47:21
    studies and final sketches here a lot of
  • 00:47:25
    the Disney Masters and specifically
  • 00:47:28
    henish play or henish cly and that was
  • 00:47:32
    the figure drawing one but you can see
  • 00:47:34
    that the dynamic animal sketching is
  • 00:47:37
    almost the same so we can see here using
  • 00:47:40
    the principles of animation and
  • 00:47:43
    structure uh to simplify and and to
  • 00:47:45
    create the illusion of
  • 00:47:47
    three-dimensionality so the construction
  • 00:47:49
    of quadrupeds excal structure muscular
  • 00:47:54
    it's a little bit of what I described
  • 00:47:57
    with Tera whitlatch a great resource on
  • 00:47:59
    that topic and then going into some of
  • 00:48:02
    those amazing references Mark Davis and
  • 00:48:05
    mute call sketching words so getting
  • 00:48:08
    more and more complicated with the
  • 00:48:10
    gesture and action and finally last but
  • 00:48:14
    not least once again hrish clay one of
  • 00:48:17
    the best drawers in draftsmanship in
  • 00:48:20
    that this direction out there you can
  • 00:48:24
    find in depth discussion about the
  • 00:48:26
    figure and animal drawing at new Masters
  • 00:48:29
    Academy as well so here a great one by
  • 00:48:33
    Carl Nas on gesture as well as this
  • 00:48:37
    Anatomy course by Joe
  • 00:48:41
    Weatherly and last but not least some
  • 00:48:43
    book suggestions so Drawn to Life by WT
  • 00:48:47
    stenfield we saw his name come up Frank
  • 00:48:50
    Thomas and olly Johnson the illusion of
  • 00:48:52
    Life Disney Animation you have the
  • 00:48:55
    Disney animation books so the jungle
  • 00:48:58
    book with a lot of mute call uh stuff in
  • 00:49:01
    there I don't have this archive series
  • 00:49:04
    but I've heard good things about it
  • 00:49:07
    Frank frera also another great reference
  • 00:49:12
    and the drawings of Irish clay there is
  • 00:49:15
    a video by proo and Marshall VRU I'll
  • 00:49:18
    add a link to the description as well
  • 00:49:20
    where they go in depth into some of his
  • 00:49:23
    sketchbooks that they got access to
  • 00:49:26
    through uh Stuart ning if I'm not
  • 00:49:28
    mistaken this is a very specialized art
  • 00:49:31
    book store uh in the US so definitely
  • 00:49:36
    check that out I'll have links to all of
  • 00:49:38
    that in the description so this is it
  • 00:49:40
    from me I hope you found your way to the
  • 00:49:43
    end of the journey here and understand a
  • 00:49:46
    little better Dynamic sketching can get
  • 00:49:49
    hit the ground running get some of the
  • 00:49:51
    foundation group tutorials or even join
  • 00:49:53
    a course from cgma get an instructor
  • 00:49:56
    from brainstorm or even a self-paced
  • 00:50:00
    course with a subscription for new
  • 00:50:02
    Masters
  • 00:50:04
    Academy anyways you can do it on your
  • 00:50:07
    own finding a lot of different resources
  • 00:50:10
    online Modern Day James is a great
  • 00:50:12
    YouTube channel on the topic a lot of
  • 00:50:15
    those people that we're talking about
  • 00:50:16
    sorry Kim has a domestica course a lot
  • 00:50:19
    of different points where you can find
  • 00:50:23
    knowledge just draw
  • 00:50:26
    draw a lot go back and forth find the
  • 00:50:30
    references you enjoy the most have fun
  • 00:50:33
    and grow one step at a time find your
  • 00:50:36
    own pace so yeah that's it from me I
  • 00:50:39
    really hope to catch up on other videos
  • 00:50:42
    and you have a great studies Journey
  • 00:50:44
    please share in the comments how it went
  • 00:50:47
    some of the challenges so that we can
  • 00:50:49
    all learn together as a community have a
  • 00:50:52
    great day
  • 00:50:54
    bye
Tags
  • Dynamisk skissering
  • Norman Shurman
  • Peter H
  • CGMA
  • Kunstkurs
  • Teknikker
  • Skissering
  • Perspektiv
  • Visual Communication
  • Dynamic Bible