So, now we're gonna get into construction.
And, really wanna be able to break the
figure down into simple shapes.
I use a lot of geometric shapes when I
break the model down.
Because that way we can build on top of
So, let's look at the figure in terms of
super, super simple shapes.
So, that once we master that we could then
take those shapes and
take it to the next level.
So, for the head, we're just gonna use
kind of a oval cone.
And for the neck, we're going to use a
tube, like that.
You gotta think about this kinda like a
Like that's, th, this is how dolls are
For the ribcage gonna use a, a bullet like
We're not really gonna get into too much
besides maybe the central axis and
The pelvis is gonna be kind of a cup
tilting, like this.
Stay super simple, super simple, but
The leg coming down is just a cone, like
This leg going back.
Once again is a, is a cone.
As is this bottom leg.
And this leg.
The foot, it's a super, super simple
As is this foot,
So you could see, these are just cones,
cones, cones, and really a cone.
Now, for that arm, we're just
doing a cone going back into space.
And, another cone,
holding on to the pelvis here, like that.
This arm here, another cone.
And another one.
And this hand is kinda.
So, there you have a model.
And it's not much different from those
little wooden kits that they sell or
those little GI Joe dolls.
Because that's how they assemble things
into very, very, very simple forms and
And sometimes, it's really good to
construct a figure that way.
Particularly when you're drawing out of
So the more you draw from life, the more
of a library
of information you will have when you draw
out of your imagination.
So, it's really important to understand
how to construct.
So, when you construct these forms, this
is, this is phase one.
And phase one, you can really get the pose
that you want.
The action that you want.
And then you can go in into phase two and
start to build that up.
So now that you've seen phase one, let's
go into a phase two.
Where, let's put a little bit of muscles
and anatomy into this.
Let's connect the figure.
So here, we could see that, okay,
we've constructed this, this rib cage out
of this cone.
We're going to then connect the figure
with the clavicle,
the trapezius fitting behind the
The deltoid here, we can see, juts down.
But we're just using the wire that we just
We're just using this little wire that we
We have the connection from the pectoralis
A little bit of the latissimus dorsi
Remember C curves and S curves.
So beautiful, it's crazy.
Wham like that.
So here, we're not getting into too much.
Just taking that shape and kind of going
So now all of a sudden that, what was just
one tube connected with another tube,
like this, has it's own shape.
Has it's own unique shape.
So we've just taken that and we built upon
We've laid the armature and we're building
This fits right in here.
There's a unique movement and rhythm to
Get her bikini on there, just because it
Moving in that direction, that direction.
One side to the other.
Always drawing both sides.
Draw one side, draw the other side.
Draw one side and draw the other side.
Wrapping around, going up, up, up, up,
higher and lower wrapping around.
This goes this direction.
Over the fatty tissue, behind that way.
Follow the center to the belly button,
just right about here.
Bikini line up.
Let's go back to that trapezius here.
But we're just constructing on something
we already have.
So we know that this deltoid is attaching
down the humerus.
And now, we're gonna connect that arm.
And give it a little bit more gesture.
Back to the hips, wrapping around.
This thigh comes out, down.
It's building on that shape, though.
Nothing too crazy, nothing too different.
Just keeping it movin, groovin.
Cuts in here.
This goes down to
the achilles tendon,
to the foot, to the big toe.
Kinda block that shape in.
Overlap of the ankle.
Just using those shapes, though.
Every shape that I have here.
Not changing too much.
But you could see, having that underneath
me, really helps, really helps.
Because now I'm able to kind of have a
foundation that I could built upon.
Then you can
get into the subtlety of light.
Overlap, you know,
rib cage, shading, value,
blah, blah, blah, blah.
But you could see that we kind of took a
that was very constructive and we built
So, I would encourage you to do that as
much as you can.
Just look at the figure, look at your
kind of build it in a construction way,
whether it's out of spheres, or cones, or
squares, and or tubes.
And just take that and build the
musculature upon that.
That will help you tremendously.
And being able to take your figure
drawings to the next level.
And, and in fact, take your drawing to the
Then what you can do is, you can go home
and start practicing that all the time.
Just practicing it at home and you'll see
that you'll immediately get better,
cuz you'll be able to just construct these
different figures in your sketchbook and
have fun with it.