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- [Instructor] In this movie,

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I want to touch on a key
fundamental of drawing,

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and that is analyzing form.

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It doesn't matter what your topic is,

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you want to observe it visually

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and deduce the content in your mind's eye.

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Look at the form of your topic

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and associate simple
geometric shapes with it

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to help guide your drawing efforts.

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So let me explain this
through demonstration.

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So if we're approaching a
subject matter like a horse,

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and by the way, if you've watched any

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of my other courses, you know I loathe

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drawing horses, and I
purposely picked a horse

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because you're more than
likely going to be intimidated

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as you try to make drawing a daily habit

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and you try to work it into
your creative work flow.

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It's a skill you can use for a lifetime,

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but that doesn't mean it's
not going to intimidate you.

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It will at times, and that's
a good thing by the way.

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It pushes your comfort zone
and it makes you stretch

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those creative muscles
and get better at things.

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So I decided I'm going to pick a horse

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because I frankly don't
like drawing horses.

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If I could pick any topic,
I would pick topics I like,

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not a horse, but in this case we're going

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to select this path, it's
going to preload the brush.

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You can see it preloads a blend mode

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and opacity is still 100%.

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Actually on opacity, let's go ahead,

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we're going to adjust that.

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We'll go 30, I think that will work good,

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and we're going to go ahead
and take the paintbrush tool.

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And so with those, when I look at this,

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a lot of people, when
they think of drawing,

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they think okay, well I'm going to try

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to draw a horse and so
they try to figure out

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the shape

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and whatever, and they
go well this doesn't look

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like a horse, it looks
like the Loch Ness Monster

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or whatever.

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It's like well you don't
want to draw that way.

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That makes drawing a whole lot harder.

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That's okay if you're
doing experimentation

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with contour drawing.

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It actually kind of looks better

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when you make the contour
look a little bit funky,

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and you're going to see that coming up

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in another movie, but
what you want to do here

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is it's better to look at
forms, look at his head.

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There's kind of a circular shape there,

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so we can just go like this
and create a circle shape

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for the top there, then goes
down at an angle like this,

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so we're just doing what's
called an under drawing here,

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and maybe down below it's
kind of like a circle,

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but maybe it's at an angle like this,

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and then this one kind of
connects here like this.

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This is the way you can
approach it and make it easier.

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Maybe you look at the
ear and they kind of look

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like half moon shapes, like this,

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and then maybe this one over here,

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going like that, and then
this is arching up here,

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so it goes from the top of this apex

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and it arches out, kind of like this.

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So this is all it takes
to start working out

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your proportions and start working out

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a basis for which you
can then tighten it up

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and keep refining it
and improving upon it.

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Now this is crude, obviously,

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but this is how a drawing starts.

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You're never going to get
it right the first time.

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You're going to have to then go in

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and figure this ear might
look a little better

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if I shape it kind of like this,

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and on this one, this
has a little bend to it,

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and we're going to go ahead and start

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kind of working this out,
and you look at reference.

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Every artist, if you watch
any of the special edition

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DVDs from Disney or Pixar,

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you'll always see videos
in there with the artist

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drawing things that are
represented in the movie

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that they go in and they're referencing

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the real things a lot of times,

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even though the style
they're rendering it in

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is distinctly characterized
and non realistic.

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So it doesn't matter if
you're trying to draw

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a realistic horse or trying to draw,

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maybe it's a graphic,
it's going to end up being

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a graphic representation for a logo

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for an equestrian service or whatever,

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but this is how you can start off

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with basic shapes and then work it out.

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Now this kind of looks
horrible, in my opinion,

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but it's getting there.

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It's not terrible.

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If I worked on it for another
30 minutes or whatever,

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it'd probably look a lot better,

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his mane would go up there,

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so it's all about setting a foundation

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and those foundations can
start with geometric shapes.

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Let's go to this one because
what I want to do here

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is I want to reinforce that.

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Again, so if we have this horse here,

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we'll slide this over just a little bit,

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is once again, think in shapes,

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so some kind of circle shape here,

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circle shape here.

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These are just straight
lines at this point,

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that's no big deal.

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Up here, this curve goes like this,

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actually this circle,

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you might even want the
circle bigger, like this.

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The nice thing about
digital is you can delete.

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If you don't like it at
all, you can start over

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and go like this, so you
can have a big circle

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connected with lines to a little circle.

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This you can look at once again,

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associate it with a simpler shape,

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and it's all about shape recognition,

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big swoosh over here, down here like this,

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circular, so on and so forth.

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So think in shapes.

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Shapes is what's going to help you improve

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your drawing skills.

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Let's take another reference of a horse.

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Here's the full body.

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We're going to turn it into gray scale,

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and once again, using
the same principle here,

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it's all about connecting shapes

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so maybe on this one, starts
with the circle again here,

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connecting those shapes like this,

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his ears kind of like this.

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Down here, his front end is
kind of like a circle here.

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Actually I don't like that.

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Let's try that again, like
that, a little smaller.

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The back end once again, small circle.

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This underneath, and this is where

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you can take some artistic license.

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Let's go ahead and redo
that circle again like this,

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is here I would get a little
more artistic with it.

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He kind of has a gut.

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I'm making him more a cut horse,

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like he's in great shape, straight line,

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this curve kind of going down like this,

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and then up into that one like this,

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and this is how you can approach it.

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You can use it to gauge
perspective, like this,

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so once again connect these.

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There's rarely any
straight lines in nature,

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so don't be afraid to bend them like this,

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but I'm not going to draw this all out,

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but you get the general idea
to guide your proportions.

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Maybe, oh you know what I did?

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I actually drew on my reference layer.

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You're supposed to draw on
this layer right above it

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like that, but I didn't, no big deal,

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but if you use these exercise files,

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draw on the drawing layer,
that way if you don't like it

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you can just start over on a new layer.

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I drew on the reference, oops.

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No big deal.

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Let's go ahead and turn that layer off.

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I'm going to have to select
this though and delete it

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and we'll turn on another drawing I did

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using those same principles
of starting with shapes.

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Now one thing I want to
point out that's different

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from the reference to the final

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is reference is great to guide you

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in your general
proportions, but if you look

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at the back leg in the photograph,

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the leg that's furthest
away from the viewer

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is kind of hidden behind the other leg,

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and in a photograph, you
don't really think about that

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or notice it, but when you draw something,

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those things pop out, and
that looked weird to me,

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so I just drew my own
leg in its own position

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because it aesthetically looked better,

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so drawing is a progressive process,

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meaning start with simple shapes

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and work from there, continue to refine,

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and go layer upon layer.

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You might not even like this,

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in which case you could select it,

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set the opacity back, create a new layer,

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and draw on top of that
again to keep working on it,

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keep improving on it.

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That's what drawing is all about.

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I encourage you to try
this drawing yourself.

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Approaching subject matters like this

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will help make drawing
more sustainable for you

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and don't get frustrated.

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No one starts off drawing perfectly,

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so keep at it and you'll see improvement.

