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Art Lessons: Quick Pose

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[MUSIC]
So,
now we're gonna do, take all of this
information, gather it together,
look for the longest line, look for,
measuring the figure, very quickly.
And look for those landmarks, and really
get that information down so
that, we can have a quick armature of the
pose.
And once again, this is really about
gesture,
this is about the spirit of the pose.
This is not about getting a beautiful
finished drawing.
This is about getting the action of the
pose, particularly used.
When designing, your own compositions, for
your drawings or for your paintings.
So, when you really want to get detailed,
you're gonna,
obviously gonna, spend a lot more time on
this.
But, this is something that you wanna,
have.
This skill set is something you wanna,
have so, you can quickly get a notation.
About, a figure and it's movement and a
gesture to capture the.
Essence and the spirit, because the spirit
tells the story.
Okay.
[SOUND]
You just wanna, kind of really,
be fast and furious.
[SOUND]
Look for that, nose.
Down, and don't worry about making a
pretty drawing,
just worry about really, getting that
energy.
[SOUND]
And look at that.
No, no worries about anything.
And then, if you want, you can come back
and quickly see,
how much information I've gotten already,
by the pencils I put down, the pencil
lines I put down.
[SOUND]
And
these are really, really, really kind of
fast, down and
dirty, furiously amazing, energetic
drawings.
[SOUND]
Okay, a switch.
You wanna, go for the tilt.
You wanna, go for the pelvis,
and just the spirit and action,
get that active feeling.
Once, again, don't start.
Just, anywhere.
Start, where something's gonna inspire
you.
[SOUND]
'Kay, you can move to the next one.
[SOUND]
[MUSIC]
[MUSIC]
Just once again,
you're looking for that longest line.
You're looking for that, that pin side.
And looking how that belly button is
getting pulled, the center of that torso.
The energy of that leg wrapping around
beautifully.
It's like poetry in motion.
Coming down the weight.
The nose is right here.
You can see the weight on that back foot
there.
And this line is kinda woah, it's going
all the way this direction.
Like that.
And you're not looking to do the most
realistic, and the most beautiful drawing.
But you're looking to capture the energy
of her.
This is wrapping around this rib cage and
going back.
The neck is going this way, the head is
going back.
You have to be inspired, and to feel like
it's musical.
It's a different kind of language these
gestures.
If you feel like you've captured the
spirit.
Okay, let's
keep going.
Oh, you want to look for that line going
across.
This coming all the way out, down, kind of
swooping around.
This leg coming out, back, and pelvis is
moving this way.
And this belly button's being pulled.
That's that landmark, right there, that
belly button.
That arm's going down.
There's the pit of the neck going in line
with that belly.
Here's the pinched side right over here.
Here's the stretched side coming up.
And not really dealing too much with
shading.
But sometimes if you see a place where you
wanna kinda have fun.
Make it a little bit more dynamic.
And you could throw some shading on.
Now that belly button to the pubis, to the
pit of the neck, to the ear is there.
And, of course, we wanna find that nose
again.
Where is that nose?
Bam.
All the way down, to where this foot is.
[SOUND]
Wrapping around,
there's a pit in that external clydoid.
And just, to get that spirit.
That arm's coming out, down.
And you don't have to finish all your
drawings, you just want to get the,
the energy right.
This is very fast.
Okay, let's keep them moving.
[MUSIC]
[MUSIC]
Some gesture drawings could be 30 seconds.
Some one minute, some two minutes, some
three minutes.
I like to warm up with like, 30 second to
a minute.
And that's how long most of my gesture
drawings are.
So, with these ones I'm walking through a
little bit I'm talking.
It might take a little bit longer.
But it should be right around that time
frame.
So look at that.
That is just an amazing pose.
We're talking about the shoulders going
this way,
the ribcage, and then the pelvis going
that direction.
The center line is over here.
See that.
Center line's all over there.
And it's going all the way back to that
knee cap.
It's going all the way to that knee cap
and then going down.
So, it's the center line is pulling from
the neck, and
the head's all the way up here, and it's
going all the way down to that knee cap.
And then it's pushing down, and then
really,
really, really kinda planting in the
ground like that.
The nose is kinda right in here, which is
half way down between those legs.
This leg is coming from here, and
this side is obviously really, really,
really, really getting pinched.
And this side is the opposite.
This pushing way out, way out.
And this is wrapping a round there.
The belly's coming out and you coud just
feel.
You feel that.
Remember that land mark from the inside
the rib.
You can feel it right in here.
So, if it was lit from this side.
They're be like a cast shadow like that.
So, that's kind of how if it was lit, it'd
be like that.
Now, that belly button, you could fill it
in there.
And once again, if this was lit going this
way, this would be in shadow.
Like that.
You wanna always important too, this is
really, really, really, reallly important.
Always wanna draw through your forms.
So, if I'm doing the butt this direction,
I'm going all the way through, through,
through to this direction here and here.
So draw through, same with here.
So, buttocks is coming here to the crest
of the pelvis,drawing all the way around.
So, I'm feeling the form at all times.
I'm feeling that pelvis here.
And I'm drawing all the way to the front
of that leg.
And this is pulling, pulling back,
pulling back that calf, pushing down into
that ankle.
And that's being held by the, it's,
you could feel the gravity, you could feel
the push of that.
[SOUND]
Man, it's just amazing.
And also see that diagonal?
That doesn't work because it doesn't exist
in nature.
This actually got a little bit of a C
curve.
Even if it's subtle, it's got a little C
curve.
So that's if the light was coming across
here, just to feel the form more.
We'll do lighted figures later, but you'd
feel a cast shadow,
you'd feel a core shadow, and
you can feel this coming down.
You can feel the gastrocnemius which is
the back of that calf that bone.
Oh, man.
It's really.
Sometimes so amazing, you really want to
capture it in all of its beauty.
And then here
Like that.
And sometimes you wanna just throw down a
cast shadow
on the ground just to ground something.
This goes up.
Up and over, and around.
See that?
Like that.
Scapula's coming out, protruding like
that.
Okay.
[NOISE]
[MUSIC]
[MUSIC]
Once again,
we're going to see the landmarks here very
important.
So, my longest line's gonna be from her
elbow to that leg.
Like that.
I'm gonna find the shoulder direction.
I'm gonna find the pelvis direction.
And I'm gonna really get that draft from
the inside out to get that spine,
like that so I could see.
Follow the spine, even though we can't see
her hair, we're following the spine to
that neck to that ear to the direction of
the head, which is that way.
The trapezius coming down.
Coming down.
That arm going up.
All the way up, like that.
All the way to the ribcage here and this
is getting pinched there.
See that pinch?
And you can feel the pinch with the.
The bikini strap.
And this goes all the way out, all the way
out, all the way out, down.
Great [INAUDIBLE] and not down that way
but out, like that.
Out like that.
So, constantly using the landmarks in
the sacrum, the spine, the scapula where
its pinching here.
The scapula you could see the scapula
here.
Find out where that ear is and going down.
And this leg is going out, back.
[SOUND]
And this one is going out, back.
Down that.
And really, that is all the armature that
you need to get a good figure, like that.
And then you could build.
You could say, let's say, that arm.
Take that arm the direction of swinging,
C-curving this way.
C-curving out.
And then the hand is kind of, you know,
the hand has that kinda energy like that.
It's like, it's like, presenting.
It's beautiful.
It's graceful.
It's elegant.
[SOUND] And if we wanna capture that hand,
we see that this rolls this way the
deltoid.
The deltoid is here and rolls out.
Back down, the deltoid tucks here.
Deltoid actually grabs the humerus and
radiates back.
See this?
This just my,
my mark where I was just putting the
spirit of it down.
Then as I get more into it, I'll show
that.
Okay.
Well, this is front of the bicep.
Right?
Bicep tucks, the elbow and
this is basically a cylinder and
the wrist can be very flat.
Like that.
[SOUND]
And that thumb super graceful.
The hand comes up, back.
And once again, we're just kinda get the
essence of it.
I'm going a little crazy, but.
[SOUND]
And
if it was lit, if light was coming down.
We would see the [NOISE] the light side
and
you could start really forming the muscles
that way.
You see the top plane here.
[SOUND]
Shoulder area.
The shoulder coming up here.
[SOUND]
The pinch side here.
[SOUND] And the light would be falling
off.
[SOUND]
Like that.
And, this would tuck, the bikini comes up,
up, up, up around, around, around,
as the ants marching.
Oh, get that wrap it around the form.
Wrap it around the form, please.
Go up.
And over, like that.
[SOUND]
And this comes out and over.
So like I said, if the light was coming
this direction, this would be lit on top.
This would be lit on top.
[SOUND] And the light falls off.
So light goes from dark [NOISE] to
mid-tone.
Then it hits the light again.
[SOUND] You get your core [NOISE] and then
you fall off.
[SOUND]
We're rolling the form always.
Feeling that form.
Feeling the form.
Experiencing the form.
A couple of things that are really
important.
[NOISE] when I talk about this bikini here
wrapping over this form.
I want you to think about that as just
really fast.
I want you to think about that as a box.
Okay?
So when we draw form or if we draw clothes
over a form like this.
Cuz it, in, in essence it's kinda what it
is.
Or we can make it kind of a cone, as well.
Make it into a cone.
But I just wanted to show you the edges
for a reason.
So, we wanna see that this piece of
material or
clothing is coming over one side and not
continually just doing this.
But actually, going around something.
Going around something, because we're
creating the illusion of 3D space.
So, when I do this, I'm actually,
I'm looking at, I'm looking at this object
and I'm saying,
this piece of material is going around
here, like that.
See that?
It's going around it.
So this piece is sitting inside of it and
this is going all the way around it, like
that.
It may seems simple, but it's really
important to do that.
So, I want you to really try to experience
drawing, drawing around it.
A, a lot of times what people will do is
see if I have this form here.
Like this.
And you could see that this form clearly
goes around this form.
Right?
It actually wraps around like that.
What most people do, cuz they will have a
form
Like that.
And they will draw something around it and
they will end it there.
So, this form has to actually go around
it.
As if you can draw around it and feel
around it.
So when I do that oftentimes, I will, I
will continue drawing this line like this.
Not putting a mark down on the paper.
But I will continually draw the line
without putting a mark down.
And then pick it up again and put a mark
down.
So I could really, actually experience the
volume of the form.
Because it's turning the form.
Not gonna draw my hand going around my
hand, like that.
I'm actually gonna draw my hand going
around my other hand, like that.
I wanna make sure it wraps around.
If I'm gonna draw that watch,
I want the watch to feel like it's going
around my hand.
Not like it's ending there at the end of
the wrist.
That doesn't create the illusion of space.
Look it.
We are magicians as artists, so
we have to create the illusion.
[SOUND]
[MUSIC]