All right it's another one of the basic forms and we can kind of draw from any angle or at least have
the possibility to Cuba to do it we're going to also try adding in some different poses.
K now when you're working with something organic or that can move like an animal you've got to keep
in mind what the saw of the structures is Neith and what the soft structures are.
Right.
Because overall the shape of the rat is more of a circular sort of oval shape right.
However when we think about what's underneath if you think about the skeleton.
Right because all those soft shapes like the fat and the fern the skin that can all move and Smersh
and change shape.
But the things that won't change are going to be the hard skeletal bone structures underneath.
We've got to keep that in mind right.
When the right is moving around the ribcage is going to stay the same size in the same shape and hips
are going to say the same size in the same shape or all the parts in between all the fat all the fur
that can bunch up and change right.
So we've got to try and keep that in mind.
So let's say we want to draw the rat This time he's on all fours and we want to draw from behind.
Right.
So we have we know that we're going to have his rib cage right but since it's facing away from us it's
going to be a little bit more of a circle because we're looking at it from the end on right and then
his back part.
Right.
Which is going to be up here.
We're going to have his leg about here on both sides which is going to create his backside.
OK.
And then in the front and also his tail is going to come down.
OK.
And then in the front we have where his head will be right and his head is this fear shape.
Right.
We know the shape of that already we've gone over that and then we have on his face and then his ears
they are going to fly out his head a little more it will be more of a rash.
OK.
Let's get his tail a little thinner.
And then since his head is a little bit further back in perspective I'm actually just going to take
the whole part and shrink it down a little bit so that it feels like it's farther away from us.
OK.
All right.
So we have that we have the nose.
OK.
Now what I recommend too is practice by looking at reference to kind of get down the patterns right.
You want to focus on the direction of the fur and treat them like they're big like large shapes.
Right.
And really focus on what direction the cops are going.
As if they're a large individual masses instead of individual strands.
OK.
So from this Suppose we actually wouldn't really be able to see and be able to see really any of his
legs.
Right.
Maybe like a little bit right here a little bit of one of his hands.
And even then I don't think we'll see the earth just be covered up by his body.
Honestly RE office we are kind of tucked up underneath him and that would account for most of it.
Right.
So let's do his eyes and his eyes or let's make sure we get those in perspective because they really
going to be they kind of face forward and up and then we can move those around anywhere on his face
that we need to make it bigger.
I think we need to do both of higher up about their hoops or pencil tool and then this is looking a
little bit too much like skin so I want it to be more like fur.
So I'm just going to add a little bit of color in there.
That's a different part.
Let's do another pose.
OK.
Let's try another one must do one works from the side view and he's kind of down like he's on all fours.
OK.
So let's try that.
We have.
Who's going to move this whole thing appear out of the way.
OK.
So once again we're going to have his torso and a good tone needs to be a little bit squatter better
of his torso.
And then we're going to have his hips back here.
And then his leg shapes about like that and then his tail here legs are going to be like this little
feet over here and at his feet over here.
And then I think I need to clean up this for a little bit.
I have him sloping up a little more.
So what.
And then his head is going to be coming out right here.
So we have the Circle K in shape at the ear so it's the nose.
I should probably do these whisker things to maybe to kind of help.
So the whole face.
But OK.
So we have his neck here as ear has a little pause.
I'm going to actually take this whole part of his body until the down like this.
We're just going to get a little bit more of a dynamic shape going on and then we'll take this head
and neck area
children up more and connect that that's a little too long.
So I'm sure that a merry go.
Perfect.
So we have this.
His leg is going to be kind of overlapping here.
And then his arm and this leg back here he'll be like on a rock or something.
The other leg in the air from the other side and then his tail can come down here and then we can go
and you know make a new law will clear up some of the structural lines with the eraser and I'm going
to add just a little bit more sort of for feel.
Here are the ear lobe of the ear.
Were there any other signs.
I'm really just mostly trying to focus on the direction that the firm is following more than I am on
the each individual sort of Strand for appearing at the back all kind of really lightly suggest and
then I think for this elbow it looks a little bit aggressive and a little big.
So we're just going to kind of soften all of it up.
There you go.
That looks a little better.
Not quite so in your face.
All right.
So there's that guy.
Let's move him off and we could you do one or two more episodes to one more and see where we're at.
We have some spaces we can fill in here.
OK.
Let's say we have one where Let's think of a house.
What do we want to do.
Maybe he's like we could do one right he's almost looking up at us.
Yeah it's the one where he's like looking at us.
I think I've seen him pitch like this before and I kind of have an idea in my head.
We're going to try it.
OK.
So we're going to start with the farthest most back part of his body.
Right we're going to build this up in layers k.
So with his hips that are way back here.
Right.
And he's going to have his his leg shaped sky.
And we have his rib cage that's going to be facing us.
And yet once through the rib cage here his feet will be coming out here.
OK.
And then his arms coming out in his hands here.
OK.
We'll have this one come down a little farther.
OK.
And then his head is basically going to be looking right at us.
It is years here then his two red nose need to move that whole anti-troops whole entire thing needs
to move down a little bit lower on his face the mouse the rat is.
So we got that then we can do his his body here paws.
And we're going to make this whole thing a little skinnier little squat right now.
And especially his head overall it just needs to be a little bit smaller and a little skinny here.
There you go.
That looks more like a rat.
And then we have his leg down here.
OK.
His tail.
We will have his tail come up.
Will have his tail coming out from behind him like this.
I can see it on the ground.
OK.
And then a Sophies.
I know that is going to be someone out there who watch this who has a parent are going to be like that's
now a rat.
Feet look like.
And I know I would have a. otherwise I'd have a reference to make sure I got it right.
But I don't want to take forever on these.
So.
All right.
So there's that guy and loves to maybe
one more we can fit one more we're just going to move this guy.
I mean this fella over here.
So we have space and actually give us room to do one more good sized one.
And let's think of a good idea.
Good pose.
Maybe he's running at us maybe no idea where and where it's He's in motion.
He's coming towards us.
OK.
So we'll start with the the back shapes First the back volume so we have have the hips back here.
Right.
Which relieves them with the legs and everything.
And that's going to be like a circular shape.
So for this one that's where I start with further back.
OK.
So we have that shape that's going to be filling out the back side and we have his foot will be coming
down on his rib cage with his foot here.
You know what we need to do this need to make this a little smaller make a little bit more squat.
OK.
Now we can have this here with his foot coming down and that's the foot that's holding most of his weight.
Keep him running and we're going to have his head right about here his nose area about there came his
ears.
Now the reason why I'm able to kind of pick up on some of these little details about like the ears and
the eyes is because I took some time to really look at them and see kind of what they look like more
and I use reference so make sure that if you're kind of feeling like something doesn't look right just
give you some reference.
Figure out what's wrong with what you're drawing and then fix it.
And then his nose here and his eyes OK and then we'll have his you will see his other foot.
This is about to take a step
so let's go ahead and use the last two I'm going to tighten up some of the stuff and shift it around.
I can't tell you how valuable the lasso tool is and how under use that is by a lot of people right.
Some people think that I've heard people say like you know that's cheating.
It's kind of weird to me because I'd be like if no one had ever invented oil pain before and everyone
all the cave men were just using charcoal to make their picture right.
Someone came out with a new tool a paint brush and charcoal.
So paint burning oil paint and they started painting really realistic pictures.
And the cave men were like hey you're not using charcoal you're getting better results.
That's cheating.
You can't do that.
We would be like you know they're just using a better tool.
Right.
So that's the same thing with digital as I did not just passing off someone else's work as your own.
There's nothing wrong with it.
Right.
I'm going to take all of this and we're going to tilt it just a little bit so it looks like he a little
bit more motion to him and then this stuff is back area.
I'm going to tilt up a little more to really make it feel like he's running.
OK.
And then his head I think should be a bit smaller and we can move on this.
OK.
So then this staff going to have come down.
That's not right.
It's changed a little bit.
We're going to have this be moved out a little bit and the hoops they raise.
So that will give him that sort of running feel and his tail can be peer housecleaner.
Tell her I got real messy there.
All right.
So it's all right.
It's not the best one but it's what you practice.
You keep practicing until you can really get the feel for it.
Get the dimensions and everything down.
Just perfect.
I think part of it is we need to move his ear to the side more.
There we go.
And then let's finish this other leg.
And then his head still is a little big.
He says one more time.
Right.
So we'll call it good for this one.
So now we have we did see here we have six of them that we did and they turned out pretty good.
I'm just going to merge all these together and then rearrange it here so that we have it is even a space
so look a little nicer.
So your assignment now you can pick whatever you want.
Any object any creature anything you can do people you can do a specific body part right.
Maybe you have a hard time with ears or or noses right whatever you want it's up to you.
But first you need to break it down into the volumes.
OK.
So find a picture that has it in a good pose you can see pretty much every part of its body and you
guessed start by breaking it down into its basic Vives you can trace over it.
But then I want you to redraw a similar thing with just it's just those volumes.
Then I want you to try drawing it from two different angles using those same volumes.
And then I wait to try after that drawing it from two different poses.
And that's your assignment.
That's a base assignment and that's just if you just want to kind of learn the concept in the next lecture
though.
I'll talk to you how if you really want to master something and really really be good at it what you
can do to do that.
So that is it for this lecture and I will see you guys in the next one.