Figure Drawing Lesson 018 - The Journey to 3/4 view of Human Skull - Part 6

Hey guys, my name is Riven Phoenix and welcome to the start-up of man learn to draw the human

figure from your mind training course.

So in the previous lesson we pretty much have now proved that the training process that

we are taking the mind through in understanding figure drawing is paying off it because

we were able to do all these different styles of drawing of the human skull in all these

different angles, proving the concept to what Da Vinci is really saying about the power

of formulas, and within that what we are doing is really taking his concept and then looking

at the process of cognitive thinking how really the mind really needs like this story

that it needs to go through to understand figure drawing, we are taking all the fuzzy

areas out in figure drawing so when you are drawing it out it doesn't question it, right?

It has this really deep down understanding of the figure.

It's the same thing as it you have gone to let's say your four year school of learning

about art and when you are creating those paintings in the back of your mind you know

all the experience that you went through in your class how the teacher told you how to

do things how to correct your mistakes, how to understand color, how to understand

drawing in your life drawing classes, right?

It's just deep story when you are drawing it out.

So in this sense what we are seeing is that this process that we are going through in

this course which is the structure of man is really the story of the human figure that

we are embedding in the mind, right?

It's again comes down to the process of these peg systems in memory management as to how

we are connecting the dots as we how we started out with a blueprint then created a story

one by one through the lessons so we could get to this point, right?

So you should really give yourself a pattern of back to be able to have come to this point

from let's say if you didn't know how to draw the human skull to be able to do this.

So now what I'm going to show you is I'm going to introduce you to the forms of the human

figure, right?

We're really just done with this area of the skull but I need to show you this area here

is because I want you to get to the use to the idea is what does it mean to understand

the forms of the human figure.

So if we take a look at Michelangelo, right, if you look at Michelangelo, right?

In his studies, remember he burned all the studies so we only have only a handful of them

to understand but if you look at his studies, right, through his studies we could state

in this artistic thinking that what he's getting at is that the mastery of the human figure

not only is understanding the complete structure of how the bones are put together because

you can see it's obvious over here, right?

And not only understanding all the muscles, but also the surface anatomy.

And the surface anatomy will come from understanding the forms of the human figure, how the planes

of the human figure play around on the human body, right?

So what this means is that if you look at the bench, right, again, all the stuff that

I'm seeing, right, you've got to keep in mind that this is all artistic thinking, it's

thinking out loud.

It means absolutely nothing to us.

It's not something that we religiously believe in these ideas, right?

We just want the mind to go through this process of thinking.

It's very, I want to be clear about this, that all the stuff that I'm showing you here,

this is called artistic thinking, that's what's allowing us to be able to draw the skull

in such, make such rapid progressing in figure drawing because we can use the part of artistic

thinking to help it understand, right?

So over here, see where DaVinci has done this drawing, but over here he's showing the

formals because he's getting to a point here, obviously, right?

He's showing that the power formulas will give you an obvious statement, obvious meaning

that what that means is when you're drawing up the figures like this, right, when we draw

up the skull, like if we were drawing out this before without understanding it, right,

we would have to look at something and draw it out, but because we created all the formulas

and understood it, it becomes an obvious statement, meaning that when DaVinci is drawing

it in his mind, right, what's happening is that when he's drawing these angles out,

the human figure like this, see the bones and all this, in his mind it is obvious that

this is how it's going to be, the design of the face is going to be like this and it's

obvious that there's a line over here, the muscle area over here and it's obvious that

the neck looks like this, right, the entire body, right?

So if you look at the first drawing that I did in the beginning of these lessons, this

going here, what I was showing you is that the proof of what DaVinci was saying in that

drawing, right, when I was drawing this out in that process of drawing, it is obvious

that this is how the figure is going to look like, right, because the mind has enough

experience of this, right, I think you understand what I'm getting at in the concept of what

figure drawing is, what the mastery straight really looks like, everything just becomes obvious

to you that obviously this is what the shoulder is going to look like, this is how the lines

are going to be, right, but without the actual knowledge of understanding the structure of

the toolkit and all the muscles, how they're supposed to be, you cannot get to that statement

that obviously is going to look like this, right?

So to magnify that point that I'm making about these obvious statements is that now let's

do use the same concept in drawing at the skull and look at the forms, right?

So here I'm just going to show you a very simple template idea here.

So let's say that this is going to be the, let's say an idea here for the head over

here.

Just same thing as I, as if I'm drawing the human head here in a three-fourth's view,

okay?

Here I'm just going to draw it out like this and I'm going to do this line over here and

I'm going to obviously do this jaw over here, right?

Because it's obvious that it is coming from here, right?

This is what I'm getting at.

So when you, when we know that this is going to be the center for the eye line over here,

right?

And this is where the whole skull will develop.

So if you look at the forms, the forms are going to be basically like this.

This is the top of your brow area over here, right?

So first I'm going to show you the forms here and over here, because we know how this

is supposed to be.

We know that this area here has to go in, right?

For the nose, it's going to go in for the nose and then you'll get the nose.

So in the forms, you should just know that this is going to basically look like this in

the forms.

If you have to cut this out from a block of wood, right?

And we know that the nose is just going to be from here, the brow over here is going

to be roughly around here, right?

So if we had to put this nose out over here, right?

We can do the same thing just as a very simple idea, this is how the form is going to be

for the nose, right?

And then over here, remember that thing that you get here for this area, for the skull.

And then just go back to the original formula here, this area over here, and I've been

telling you about if there's a match over here, you should know that there, although if

you look at your face in the mirror, you'll see that where this temple area is, right?

With your eyes over here, there's a plane over here.

And then we know that this is where the cheekbone is going to be, and it's basically there's

a plane like this that goes in this direction, here I'm just inventing the planes completely

from scratch to show you this concept here, right?

This is like the first version of the plane that we're going to do, so I'm showing you

that there's a plane over here, and then it goes in over here, going in this direction,

right?

Give you the forms, and this over here, if it's over here, that means it's over here,

too, right?

It's just going to come like this, for the form of the human head.

So once we know this, we know that, okay, well, if I had divided this really in these

three different parts, I know that the mouth is going to be here, meaning that there's

a form area over here, this is where your chain is going to be, right?

And this area here is actually like this, there's a form area over here because your mouth

really is not flat, there's a form over here, too, right?

Just get to this very simple understanding, this very simple template concept, and this

is obviously where the here is, right?

And this is how these statements that we're seeing, right, in this artistic thinking concept,

and when we say obvious, now when we draw the skull, it will make more sense.

So now let's take this and draw out the skull, so I'm just going to use the same pencil

here, right?

We're going to basically wrap the skull around this to understand how it translates

to this.

So we know that this is the temple area over here of the skull, and then you get this

brow area over here, right?

You get the bone for the nose, then here we had stated that really the eyes are going

to be like this over here, right?

We get this section here, right?

So this will help you remember it's under, this will help you to understand why we were

doing it this way, right?

It goes halfway here around with the nose, this is the opening.

So when your eye is in here, this is why you'll get that flabby area, right?

If you touch this area with your finger, you'll get to see that there's this area under

the eye that's like this baggy system that comes because there's an area over here, right?

So in the same idea here, you could all, you could have, you can draw your skulls in

this way too, just understanding, okay, I understand what's going on now.

This is why we get this dip here in this, and that's why we get the skull to look like

this and you get the cheek, and then your cheek is just going to be like this going back

over here, right?

See how the forms make more sense, and this is just going to be like this, this is where

you get like this dip here, right?

Obviously when you put the muscles, like some people just don't have this because they

have a cheek here, but this will help you to understand the planes of this.

There's a muscle area over here, but this, this, it would just be like this going into

this direction.

So here I'm just going to shade this in, right?

So this nose, we don't have to shade it in, we know that the nose is going to be here

in the cartilage, right?

We get the, the mouth over here, right?

But this will help you really get your feet wet into understanding how the forms are.

So this is where the jaw is supposed to be, and then there are muscles over here, but

this will help you to understand how the planes are acting on the head, right?

So that's really it, basically it to it here, just wanted to show you how the forms relate

to the skull, and then how the forms later will relate to the actual muscle area here,

right?

Right, this area here, just like future stuff, like you can just do like a head over here,

right?

You're going to get muscles over here and stuff.

But so the template that I showed you in the forms, the thing you should know about

it is that you have to write to change it.

Then just add some extra things on it if you want to, but basically everything I showed

you in this form areas, that's all that Ruby is to be known about it, right?

So I'll see you in the next lesson where we're just going to wrap this segment of the

human skull.