"Olá!" "Eu sou Marshall Vandruff." "Gosto de desenhar animals especialmente da minha imaginação." "Neste vídeo mostrei como fazer isso." "A abordagem ao desenho será a partir dos mestres que eu amo." "Rembrandt" "Heinrich Kley" "Beatrix Potter." "Winsor McCay." "E muitos outros." "Estes artistas trabalharam em todos os estilos diferentes mas com as mesmas habilidades básicas do desenho." "Anatomia, forma e postura." "Esses mestres podiam facilmente desenhar deixando seus sentimentos transferirem para a pintura." "Essa é a minha meta." "Aprender a desenhar animals como estes mestres fizeram: da minha imaginação." "Artistas interessam-se pelo estudo da anatomia animal de forma diferente dos veterinários." "Se você pretende investir seu tempo - como os artistas - no estudo da anatomia." "Estude os ossos!" "O esqueleto é a base estrutural do corpo dos animais." "Não importando quanto peso ele ganhe." "Os ossos permanecem os mesmos." "Eles moldam a forma em algumas partes do corpo." "Se você compreender o crânio, você entenderá o fundamento da cabeça." "O mesmo acontece com os pés." "E com as mãos." "O esqueleto determina o ponto de articulação." "Ossos dobram-se uns em relação aos outros." "Mas cada osso permanece rígido." "Se você não sabe onde estão esses pontos, seus animals vão parecer feitos de borracha." "Assim, estude os pontos de articulação." "Essa espinha de um animal genérico." "É convexo para cima." "Mas tem pequenas saliências chamadas espinhas dorsais, fazendo com que pareça." "Concavo para cima." "Nosso animal genérico tem uma caixa torácica." "E pélvis." "E o pescoço sai do centro da coluna vertebral." "E a cabeça voltada para frente quando está sobre as quatro pernas." "O Grande Trocânter do fêmur." "E o Fêmur indo para a pélvis." "Uma rótula." "Coxa." "Calcanhar." "E pé." "E depois a pata." "Os ombros dobrando-se para frente." "E o braço superior para trás." "Dois terços do peso do animal está na frente." "Assim, uma linha vertical vai ajudar você a manter a idéia de um pilar em mente." "Segurando o peso do animal quando está em repouso." "Um pulso." "E então uma mão e os dedos." "Ligamentos e músculos na parte de trás do pescoço." "Garganta na frente." "Abdome e barriga para trás." "A parte de trás do traseiro!" "A parte da frente do traseiro!" "A coxa ou os músculos da panturrilha." "Tudo isso é o pé!" "Tudo isso é o braço superior!" "All this is lower arm!" "All this is hand!" "Pivot points are placed for leverage." "Think of this lower arm as a lever." "The pivot is right, here not here." "This is the pivot not here." "A typical horses body fits in do square." "That is, two and two thirds head lengths high, and width." "If you divide the square in half the torso fits in the area above it." "Two thirds of it is rib cage, the back thirds is pelvis." "The spine wholes the rib cage and goes through the pelvis which is about head length fit self." "The pelvis can be divided in the thirds in the upper leg bone or femur." "Begins in the back third." "An as a little less than a head lengths." "The Tibia and Fibula or lower leg bone." "Are a little less than a head lengths" "And foot bones or Tarsals and Metatarsal." "Are almost head lengths." "There's nails a fetlock joint and hoof which is a toenacal and toenail" "The shoulder begins it scapula or shoulder blade which is one head lengths." "The Humerus are upper arm bone." "Which is less than a head lengths." "And than the two fused together forearm bones." "Which in their entirety are one head lengths." "And everything under the wrist is about head length than a consists of the" "Metacarpal Bone." "And another fetlock joint, and hoof." "Which is a middle finger nakal and middle fingernail." "Then the head can be add about head length the way from the shoulders." "And they neck can vertebrae add remember that they come from the spine." "And they curve up to the top the head were a bone call the Atlas Bone holds the head." "The new can add the fleshy parts you know little about the muscles." "And then the details." "Bones are the hard architecture of the animal's body" "They do not stretch." "They stay constant." "When your study in proportion its best to study the proportion, of the bones." "Let's look another animal in more detail." "This next section is a reference of animal anatomy, is concentrate but you can use as resource." "This is a lion which fits in do a rectangular about 2 X 2 and two thirds." "The shaded parts are the fleshy areas." "The spine goes all the way through the animal, from the neck to the tip fits tail." "And most animals the flexibility happens in the lower back or lumbar vertebrae." "As well as the neck for cervical vertebrae." "The pelvis wholes the femur which is the upper leg bone." "And the most important part of the femur is the Great Trochanter because it can be seen on a fleshy animal." "That's call the landmark point." "The Patella is the knee cap." "And everything below it is lower leg, specifically Tibia and Fibula." "The Tibia is the big bone that bears the weight." "The Fibula is a thin bone anchor's muscles." "Everything below Tibia and Fibula is foot." "The heel bone is part of the tarsal mass." "And of the hinge of the foot happens where the Tibia and the Fibula grip a spool shape bone in the tarsal mess." "Below that are Matatarsals, Phalanges and Toenails which are claws." "That completes the hind leg." "The front leg begins of the shouder blade or scapula." "Notice the on a cat, the scapula rises above the profile of the spine." "The scapula has a special read on it call the spine of the scapula." "There is a important landmark point." "The scapula holds the Humerus." "Or upper arm bone." "An then the Ulna and Radius make up the two forearm bones." "The elbow is of the Ulna." "And its of set bit from the hinge for better leverage." "The Radius goes down the connect with the body of the hand." "And important landmark point on the body of the hand is the Pisiform Bones on a little finger side of the wrist." "It's part of the Carpal mess." "And below there of the Metacarpals, Phalanges and claws." "Those of the major components of the four legs." "Let's move up to the head." "The neck is part of the spine." "It begins done here." "And curves up to the Atlas Bone." "The Atlas Bone is important because it's so wide." "And can be felt on the side of animal's head." "And also because it's a pivot point for the animal's head motion." "The head is made of several bones." "Here's of the simplification." "The Cranium which is an egg shaped, brave case." "And on lions there's a Parietal Ridge on top of this." "The face, which again, the several bones." "But includes the Maxilla or upper Jawbone." "The Mandible is the lower jawbone." "Canines in sort the along get it teeth their commom the carnivorous mammals." "And finally the Zygomatic Arch which swings from underneath the eye around the Mandible." "It is the widest portion of the face." "Now there's more to it in this but this is a simplified version of the major bones that artists use in drawing animals." "When you study skeletons, start with the big shapes and relationships." "The number of hips the animal has is not nearly as important." "As the overall shape of the rib cage." "The same is true of the pelvis." "The shoulders." "The head." "The details are not important to you first master the relative size and shape." "Artist study skeletons so they can develop extra vision." "We will draw animals better when we can see the hidden components under the flesh." "A good exercise is do work from photograph and draw only the bones is if you're seen animals extra vision" "This helps you do view the landmark points that are not obvious when we look at flesh animal." "Now let's move to the muscles." "They are usually not seen." "Because they're covered with skin." "Fat or fur." "But the more you know about what is under skin be easier it is to make sense of it" "The best way the start" "Is the study the basic muscle groups." "Muscle do not keep constant shape they contract, they stretch, they change." "From the rib cage to the base of the pelvis is a belly muscle." "It flex and stretches and gravity effect." "But always connects to these two fixed points." "From the top of the pelvis." "And the femur and kneecap or a group the makes the front of the fye." "From the back of the pelvis into the lower leg or a group called the Hamstrings." "That make the back of the fye." "On a human the front and back groups is more obvious because there more separated from our torso." "But just as on a human four leg and animals." "Have quadriceps or a Thigh Group." "And Hamstrings." "On a lower leg." "The Calf Group on the back propels an animal." "The polls the heel by way of the Achilles Tendon." "On the outside front of the lower leg." "Is a complex Extensor Group that lifts the foot forward." "A hind leg has many muscles." "Artists care they are thick are near the torso." "And gradually thin out as they approach the extremities of the lame." "The torso has a network of muscles, there are complex and subtle." "And can be simplify by artists." "The important thing is they connect one bone to and another." "Let's look at the shoulder." "The scapula holds of complex muscles the pose on the upper arm." "The Scapula and Humerus hold another complex muscles that pose on of the Ulna." "They are the Deltoid." "And the Triceps." "These muscles are not only complex they also change shape when they moved." "So we need a way the simplify them." "They are thick enough to cast shadows one lift from above and we can see to parentheses shapes in these positions." "These two dark accidents can help to see the Deltoid and Triceps as simple distinct groups." "From front the lower arm into the back of the hand." "Is the forearm Extensor Group." "From the back of the forearm." "Into the palm is the Flexor Group." "The neck has too groups that artist study." "The spine to skull a group which is fairly thin and very flexible." "And the more noticeable" "Neck to arm group which spirals from behaind ear." "Into the chest in upper arm." "On the face." "The two dominant muscles that are used for biting and shooing." "Are the Masseter." "Which is below the Zygomatic Arch." "And Temporalis which feels and size of the cranium." "Anatomy is complex." "If you wanna studied further I recommend this hunder year old textbook" "By Ellenberger, Dittrich and Baum available from DOVER PUBLICATIONS." "I studied this book for years and I still go to it for reference, on details." "Learning in anatomy is in disciplining can take months or even years" "But there is a secret to keep from been overwhelming." "Choose a favorite" "When you're interested in something you look for every opportunity the study it" "I like primates." "Especially apes." "I love to draw them." "And eventually I get to know their anatomy so while, the drawing then becomes easy." "The more you understand the anatomy of one animal." "Be easy your be the draw that animal." "And all others there's well." "All of this anatomy study has been from a side view." "That doesn't help us draw three quarters views or looking up or looking down animal." "How we know that the lion as isn't shape like this?" "Or like this?" "For us to know the she shape like this." "We need to know about the next discipline in drawing animals putting anatomy into perspective." "Let's start with the box which standing animal wolf it." "Will draw the top plane." "And then draw down the vertical lines." "And with any box they are three line systems." "The height line" "Which we'll call "Y"." "The width line system which we'll call "X"." "And the depth line system which we'll call "Z"." "That makes it easy do draw the other side the box because each of these belongs to one those line systems." "Let's place of pelvis in this box in tip it, so it's not on the same angle as the box." "But notice that the width line system of that pelvis." "Are still on X." "That is they go off to the left." "Let's place a rib cage in here." "And say that this end is closer to us than the other." "Than wrap across contour like a rubber band around that." "And then connect to the center line of the pelvis" "To the top of the rib cage." "We can place a head in here." "Treated like a cylinder with across contour around, so that we can see that one in this closer to us than the other." "And then connect the center line from the rib cage." "To the back of the head." "Now we have solid structure from which to build the animals limbs." "We'll take the back leg." "From a barb that sticks out of the side like a peg" "Pull the femur down and wrapped a rubber band around it." "Build the lower leg coming from that." "And think three dimensionally." "Like a box or a wedge." "Find the area that the foot would fit into" "Think three dimensionally." "And find three sets of planes like a box." "Top, back and side." "Now if want to find that foot on the other side." "If it were a parallel" "I'd find it on the X line that runs across the ground." "But it doesn't have to be exactly parallel" "They could be a little further back." "Like right here." "And I want those toes to land on that spot." "I go over to the other side." "Build a peg out of the other side." "See through, build an upper leg." "Lower leg." "Always running along the X line the see where things belong." "Referring to the X line." "And then adjusting" "And building a foot it's a little further back." "For the shoulder we have to think of a shoulder blade preferably a something that has some thickness to it." "So a treat it like a box with three planes." "Will pull the upper arm out of there." "Think of it as a box." "Place the general position of the lower arm and hand." "And then thick it up I find corners." "The wrist would be about here." "Now, if we want a draw the other arm." "On the other side." "If it were in the same position we can run along X." "And find its placement on the other side." "So we'll find that shoulder blade on the other side on X." "Draw as if the animal were transparent." "Along X to find where we are." "And then build that one on the other side." "Now we have the symmetry in perspective." "When do Ray drew this picture of Don Quixote." "In order to make if down view on the horse, he had to think of the horse" "As fitting in a box so that its hind quarters would have three planes, like this." "He did the same with Don Quixote." "Let's do a back view of the dogs skeletal structure." "We'll start with the box for the pelvis." "See through on the other side." "Out of this point will build the barb" "For the Great Trochanter of the femur." "Go over to the other side and see the that barb would stick out on the other side." "Then when we place that femur in their, we ask" "Which end is closer to us." "This one or this one." "One rubber band wrapped around it." "Will show us." "Let me show you what I did." "I trought the femur as a cylinder." "With one and closer to me than the other." "And this rubber band shows that." "Now if I want to make that cylinder more specific." "Turn it do the a box." "I run a line down here for a corner." "Snap this rubber band tight here." "Snap a tight there." "That gives me X lines." "And Y lines." "Now will build a lower leg, somewhere in here." "To the shape of it" "And then ask: "- Is this in closer?"" " Or is that in closer?" "One rubber band we'll tell us." "Here's what I did." "I thought of the simple cylinder." "When I make that cylinder into a box." "I can run the corner along." "And snap those rubber bands tight." "That set's of in X line system that is the same the other X lines." "Going off to the left." "Now to draw the foot." "We'll draw the shape of it in their." "And ask:" " Which in this close to me?" "This end or that end?" "One rubber band." "Makes it clear." "All show the end of it." "And then constructed so that it has a corner." "And becomes like a box." "Now, what line system will that be?" "X going off to the left." "Just like that were." "Now will construct the side plane of the foot." "Because this is all side plane." "And then around the front." "Place where the toes would be trying the see through the other side." "A big cat sitting down." "Can be a twist it form." "So if we draw the cat in this position." "We need to know the structure of it." "The center line is part of the key to that." "But let me explain how the line comes about." "If you think of the hind quarters as anything three dimensional." "In this case a lifesaver shape." "And then think of torus X is something else three dimensional." "A yoyo!" "Even though the cat is not shaped like this." "We know have two, three dimensinoal forms in different position in space." "And if we go from this point to this point." "And connect them with the extreme." "And then from this point." "To the same point on the other form." "And from this point." "To the same point on the other form." "We have a scaffolding for a three dimensional." "Twisted form." "The arm would fit in here." "Now if head is going the face another direction." "Off to the left." "We need to think of it is something three dimensional." "If it were a ball in how the center line on the" "Back of that would be in this position, so we can think of it again." "As the disk." "If we place that disk" "Find the center line." "And go from this point, to that point." "Then we are thinking three dimensionally." "On a flat piece of paper." "A cat spine is flexible which means it's body changes shape." "It's back come be convex to the top." "Or concave to the top." "Or a combination of both." "But if want a cat in a three quarter position in space." "Think of its midsection as a portion of the wheel." "If you can draw that wheel tip than the space." "Drawing the cat's body as simply translating one form." "Into another." "Thinking in three dimensional forms applies not only into the animals entire body." "But also to the individual details." "Let's zoom in on a paw." "And see if we can apply the same principal." "If that cat's paw is in this position roughly." "Let's the figure out how to solve the form problems" "We have to at some point think of it is a simple form." "And in this case will carry throught with the idea of a disk." "The advantage of this is we can draw a simple form like this in any position we want." "Once we have position in space" "We can divided up the segments." "And say that each one of these" "Is the area in which a claw will fit." "Then we can lightly outline the area." "On which the claw will project." "Run a center line down." "And then traced the perspective of that high line." "And then build each claw." "But this still looks too much like a disc." "A cat's claw is more organic." "And so we want some roundness to the sheath." "So we can draw the outlines a little rounder." "And think of this, again, is something very simple." "Like a disc, facing toward this." "But it's not a disc, it's rounder." "So watch how we draw more like an olive." "And that's center line tells us how it shaped." "Now these claws are coming out of forms that are more organic." "The more confident you are with where these forms are in space the easier it will be the shape them." "Because will know which planes are facing which direction." "Let's take to shape that are similar." "The placement of the center line will affect how each turns into a form." "Less placed this center line, there." "And this center line here." "Now this will be the contour line." "This will be like a rubber band." "Wrapped around the form." "Now this one let's do the contour line." "Like this." "Wrapped around to the other side." "That point there will be this pont here." "And we end up with two different forms." "From the same shape." "Now we won a place details, like an eye." "We can say this one fits here." "And the other one will fit on the X line over on the other side." "If we want add a thin" "We build it out of that center line" "The thin on this one would be in a different position because the center line shows the that top plane is expanded." "Now when we shaded we have an abrupt plane change from up to down." "And on this one it's a gradual plane change from up to down." "So we have softer shady" "This one if were to slice through it would be shaped like this." "This one if were to slice through it would be shaped like this." "Different cross sections." "Different forms." "An animal's bones have a range of motion." "The pivot point for the femur, is here." "The arch that it would make it fix swing all the way around is here." "And the green area is the amount of actual range." "Same would the lower leg, pivot point, arc, and the range within the arc." "The foot has the pivot point a little within the ankle." "And range of motion." "Same with the back off." "with the upper arm the forearm." "The wrist." "and that front fetlock joint." "If you an animator you have to know this." "But more importantly you have to put it into three dimensional space." "A circle is a line that stays the same distance from the center point." "The center point is the pivot." "Of an arc that an animals can move along." "Think of this is an animals limb." "And it can be in any of these positions." "If we want to draw that limb so it's tipped in space." "We must see this circle tipped in space which becomes in ellipse." "To think three dimensionally imagine it is a wheel that has a peg." "Stuck in center off it." "We can now draw that limb in the same position that we saw from the side." "Only now it's in a three dimensional, three quarter, front view." "That one is that one." "This one... would be, this one." "Now it's foreshortening." "Now we can tell exactly how much it's foreshortening." "The one that goes back." "Would go into a position like this." "Imagine that we want to see that arc" "Tipped into space a little more severely." "The ellipse would be thinner." "We would place a vertical limb in there." "This one that's coming toward us would be more severely foreshortening." "And we can tell exactly how much." "By making it touch the front plane of the wheel." "That one is, that one, is that one." "This back one is also more foreshortening." "He will touch the back of hip of the wheel." "Keeping that ellipse in mind." "Helps us to place limbs in space." "This one is like that." "This one like that." "And this one, like that." "Let's apply this to an entire animal." "If we build a simple skeleton, starting with the pelvis." "Center line for the spine." "A rib cage." "An neck and head coming toward us." "When we place the Great Trochanter of the femur." "Find the end of the femur." "Lower leg, foot and hoof." "That Great Trochanter is the center of in arc." "That would look like this." "When we see that arc" "We know how much that leg will foreshortening." "If it touches the front plane of that arc." "Or that back point." "The range in motion that back leg is now in perspective." "It's the same thing for the lower leg, once we know the that lower leg pivot" "Is here." "Where is that lower leg end?" "If we can see the whole lapse that it would make if were motion." "Then we can see how long it would be if it were position." "Or any position." "With the foot, remember where the pivot point it's." "Where is that toenacal land?" "Find the pivot." "And then it arc that it would make if it were a complete circle." "And now we can trace that point." "On the arc when it's placed in perspective." "It's the same thing with the front limbs." "If we can hoof the main first." "If we draw a globe in say that is peg as the North Pole." "The center line would be straight up and down." "And we'll go from the North Pole to the South Pole." "The lines to the left will gradually curve more and more." "Like the outside outline." "The ones that the right will also." "Become more curved." "And they will packed together more tightly." "The distance between the first too is more." "Than the distance between these ones that foreshortening." "As they go around the globe" "If you're drawing animal's head which is made out around forms." "You can begin by thinking of them in circles." "But eventually you'll want see them as forms." "Spheres." "This cat muscle has planes." "Like the globe does." "The firm will pack more tightly." "Around the edges." "And also if on the globe we have things that project out." "One projects to toward us." "And as they go around." "The project out to the side." "Fur does the same thing." "You think of the fur in the center part is coming toward you." "And fur at the edges as going off to the side." "A line drawn on the right side of the face." "which curve similar to the way it does on that globe." "But it would also show other pumps." "This lower lip." "If we think of it is a form would be shaped like half doughnut." "And again if we wrap lines around it." "They we'll foreshortening to go around the edges." "If there are crease lines or fur." "These lines will pack tighter as they go around." "When you shade a form you ask:" "Which part faces away form the light, and that part will be dark?" "Two flat circles will become three dimensional looking if we know how to shade them." "As simple forms." "So one ball, melded into another." "Two melded it in for eyeballs." "A flat triangule for a nose." "And a flat plane for the top of the nose." "A recessed plane that will receive shade." "Splitting the front sphere in two smaller spheres." "And then placing ears of the animal thinking of them first." "As simply as can be thought of." "And yet still three dimensional." "Two half discs." "With a plane that faces toward light." "And a plane that faces away from light." "We must think this way before putting detail on the forms." "Because if we know the forms." "Details are relatively easy." "Let's apply this to a gorilla shoulder and upper arm." "If you can draw and an egg and wrap some lines around it." "It makes you aware of the shape of the form in space." "Then if you're looking at a high contrast photograph you can interpret it." "And put fur one it." "Because you'll know that the shoulder is shape like an egg." "And the tufts of further will come form to the shape of the egg." "There are two importants things here." "One is that the planes that are facing away from the lights are darker." "So the further in that area is treated." "Darker than in the are where the sunlight is hitting them." "The second thing to remember is that the first seems to pack more tightly along those edges they're going away from you." "And seems to pack more loosely on the planes that are facing toward you." "Is not random all over the place like this." "Tough so fur the last move off the left." "The ones at the right move off to the right." "And the ones in the middle project toward you." "Being able to wrap perspective lines around the ground forms" "We'll help you in drawing any part of an animal." "Most of what I've demonstrated are robot animals." "But artists do not study form in order to draw mannequins or machanical animals." "We master the illusion of three dimensional objects." "So that we can then draw anything anyway we want." "Gesture drawing, means drawing would animal doing." "Rather than drawing anatomy your form." "The lesson all artists can learn form animators is to begin a drawing freely and loosely." "Unconcerned with details." "Finding the action." "The energy." "The gesture." "One way to practice gesture is to draw with only a few lines to represent the entire animal." "The strategy you to see and feel the total drawing." "Another way to pratice is to do lots and lots of drawings." "Quickly without taking your pen or pencil off the paper." "It get you pass the fear of making mistakes." "When drawing is difficult it hampers your ability to express anything." "Our goal is to draw easily unselfish consciously and freely." "So the whatever feel comes out on the paper." "Let's look at one of history's great it's just your artists." "Heinrich Kley." "Heinrich Kley worked then sketch book without doing preliminary drawing he put the pinned down on the paper and find the forms as he wait." "When we did more finish work he had two early in the process." "Feel the exuberance of the elephants." "The pulling on that tail." "The leaning back to those alligators." "Drawings begins with feeling, which is to gesture." "How can you get gesture, anatomy and form to succeed in a single drwing?" "Two ways!" "The first is to become virtuous." "This drawing is by Rembrandt than ride." "Every line in the area of town reveals his mastery of anatomy." "And form." "And expressively beutiful." "This is virtuous drawing." "It comes from practing until the sub conscious mind does all the technical work." "The second way, is to work in stages." "Very few of us will never draw the effortless level of Rembrandt or Kley." "The rest us solve our problems in stages." "My stages are usually rough lines." "Precise lines." "Ton." "And color." "Sometimes it goes smoothly." "When I drew this thumbnail for Alice in Wonderland conversation with the" "Caterpillar it grew from the thumbnail but it didn't change in its basic design." "When I did jury box from Alice in Wonderland." "I went through many stages together to work." "Be where of formulas like dividing the canvas in the thirds or a grades or anything mathematical" "Formulas can help you or range design." "But they can also destroy the feeling that prompted you to make design." "Composition is organizing lines marks shapes and patterns in a way that feels right for this picture." "Composition is related to gesture." "An animal's gesture affects the composition." "So does everything else." "If the basic big lines don't feel right we'll never fix it with an anatomy your forms." "But when the basics lines do feel right" "They require the knowledge of anatomy." "And the ability to put lines on form." "In order to draw them." "I showed you how draw animals." "Using gesture," "Anatomy and form." "And by working in stages." "You'll find more resources for mastering draftsmanship." "At our web site Draw123." "All of us to draw" "Need to master the classic disciplines weather were drawing people" "Animals or monsters."