I love you man you included those fat thingies which really makes huge impact on my figure drawings. I was wondering why some muscles don't shape like it when I see skin on them.
Yep! Drawabox for that spatial reasoning stuff, and check out Carolin Peters if you're curious. It's like a sister to LoveLifeDrawing's kind of mindset and information value
thanks for the lesson, i learned a lot, it took me some time. the good thing about you tube is i can watch these videos as many times as i need to until i get it right
Thank you, love these little tricks to speed up the process (accurately) in figure drawing. You never fail to disappoint sir, with great simple analogies and accurate representations after that really helps set in the info in my brain. Keep it up!
this video is a godsend. thank you SO MUCH. literally improved my figures tenfold after a few minutes of practice. you're earned a new sub! keep up the amazing content.
I love this video, so simply explained!! and that's key.... everything seems really complicated and at times it feels that way but we just need to simplify our ideas/and our approach ... wonderful video! will have to go find the knee/calf/foot one!
Thank you for this! I genuinely wasn't aware of the dip in the sides of the glutes before, and it creates some really neat shapes. Going to be looking out for this whenever I look at reference now!
They say that Frank Frazetta painted and drew simply by using imagination and skill, in no formal way. In one situation he was told to draw a rabbit, something he has never done before. And from imagination he made a perfect rabbit. I haven't kept up with my skill since childhood, but I felt I could do it simply by feeling, Drawing I mean. I never had formal teaching. I wonder if all this is something that would help people like Frezetta or is it that for some people, its just enough to do it by feeling and not really in any formal way. I know some people don't have the talent but trough practice and persistence can become really really good at drawing human figures. For them I imagine sticking to a "system" is more important. Than there are pioneers like Michelangelo who had to invent his own system. Some scholars further divide Mannerism into two periods. Early Mannerism, which expressed an anti-traditional approach and lasted until 1535, was followed by High Mannerism where a more intricate and artificial style appealed to more sophisticated patrons, becoming a kind of court style. Later, the use of the term Mannerism to denote a particular period of art history was pioneered by Luigi Lanzi, a 17th century art historian and archeologist. The period would become a forebear to the Baroque period. Key Ideas & Accomplishments A key element of Mannerism was the use of figurative serpentinata, or "serpentine figure" in depicting human bodies. With extended limbs, elongated forms, and a fluid S-shaped grace, these figures presented an otherworldliness that departed from classical renditions. Many Mannerist works presented individuals or scenes in non-naturalistic settings, oftentimes without any contextual basis, inviting the viewer into a more philosophical experience rather than a literal reading of the work. Mannerism's reach was wide, with many important schools that cropped up to experiment within this new form. Yet, while each school drew upon its own indigenous attachments and cultural lore, the styles of presentation remained largely the same. Subjects and themes of Mannerism furthered the Venetian School's genres and expounded upon them. Mythological and allegorical subjects with an erotic theme, architecture, landscapes, and pastorals were common motifs albeit evolved via the new morphed aesthetics. By the time we get to Caravaggio, they say he most likley used not only live models but also a kind of primitive Camera obscura techniques to paint. I guess the more I study this stuff the more I see that yes, its important to learn from others, but one should also not be afraid to experiment once one learns the fundamentals to create their own style. And stand out on its own. I'm sure you would agree.
@@granitrocky1129 No, I just wrote that and found part about mannerism online so I don't have to write it myself. But I do have notes where I keep various ideas and quotes as one has sketches.
I've seen many different artists all draw in many different ways, typically I see artists start from some kind of "formal" way, or at least an abstraction of it, then build on something themselves, even if they don't realise it. Something that Kim Jung Gi said really stuck out to me in this way, "It's a tragedy you can't see the invisible lines that I see" (I'm sure it's a little misquoted, but it was along these lines)
That dark line you draw between the light and shaded areas on your figures isn't always there. I can't help but feel it's a bit of a trick that you saw worked well in one drawing and have applied it to everything since regardless of whether or not it exists in reality. It makes figures look metallic when overdone, though, and isn't an accurate reflection of light conditions. I feel it's become more about style than accuracy, but maybe that's just me : s
Hate to break it to you but everything is a style choice. The shadow line is just one more imaginary line that can help define the figure, no different from outlines, or overlap lines or any other line that doesn't actually exist.
It's not a "trick", it's called the terminator and is literally one of the main concepts of how light and shadow work. It's the part of the shadow that gets the least reflected light and is therefore at its darkest. While it is true that the terminator is not as visible in every lighting scenario, it's not some cheap trick as you kind of rudely made it out to be, it's grounded in how light actually works. And yes, it is definitely a stylistic choice but when did Kenzo ever say it was about perfect accuracy? Light and shadow is one of the biggest areas of freedom where you can push and pull shapes to express what looks good to you (preferably while still keeping the forms from breaking)
![Veeze - F.A.F (ft. Rylo Rodriguez) [Official Music Video]](http://i.ytimg.com/vi/7hlz2S2GmIY/mqdefault.jpg)
Bro you missed the second "S" in the thumbnail
missed opportunity!
LOLZ I was about to say that 🤣🤣
It's a hidden clickbait technique :D
I love you man you included those fat thingies which really makes huge impact on my figure drawings. I was wondering why some muscles don't shape like it when I see skin on them.
This guy, Proko and Draw Like a sir single handedle carries my art carreer and your to! :DD
Marc brunet is cool too. (From my experience)
Thank you so much for recommending Draw Like A Sir!!
Yep! Drawabox for that spatial reasoning stuff, and check out Carolin Peters if you're curious. It's like a sister to LoveLifeDrawing's kind of mindset and information value
@@runachan2910 no way I forgot him 😭😭😭I watch him too
@@Germania9 yes sir!!
Came over here to give your video a like from your awesome website/community.
thanks for the lesson, i learned a lot, it took me some time. the good thing about you tube is i can watch these videos as many times as i need to until i get it right
I've been practicing drawing pelvis to thigh portion of the body cause I always mess it up so this is a perfect timing, so thank you.
Thank you, love these little tricks to speed up the process (accurately) in figure drawing. You never fail to disappoint sir, with great simple analogies and accurate representations after that really helps set in the info in my brain. Keep it up!
I think you mean ' You never disappoint..." 🙃😉😊💝
this video is a godsend. thank you SO MUCH. literally improved my figures tenfold after a few minutes of practice. you're earned a new sub! keep up the amazing content.
Fantastica lezione!
I love this video, so simply explained!! and that's key.... everything seems really complicated and at times it feels that way but we just need to simplify our ideas/and our approach ... wonderful video! will have to go find the knee/calf/foot one!
i'm glad it helped! we haven't yet done one on knee, calf, foot - hopefully early 2024
Thank you for this! I genuinely wasn't aware of the dip in the sides of the glutes before, and it creates some really neat shapes. Going to be looking out for this whenever I look at reference now!
I giggled every time you said but & button 😂 Great video!
What grown man giggles 😅
@@timov13 This one…grrrr 😂
this is great, my only issues i have with it, if there is any kind for foreshortening, how would the under ware shape work if its coming right at you
Lower Leg
and
Feet
Would complete the 3D Body for Love Life Drawing. (Anatomeasy)
The "Fresh Eyes" model
and
3D Body
Really impressive!
yes that's true! that's the final area we need to cover. i've got the whole of 2023 figured out though, so it'll have to be in 2024!
They say that Frank Frazetta painted and drew simply by using imagination and skill, in no formal way. In one situation he was told to draw a rabbit, something he has never done before. And from imagination he made a perfect rabbit. I haven't kept up with my skill since childhood, but I felt I could do it simply by feeling, Drawing I mean. I never had formal teaching. I wonder if all this is something that would help people like Frezetta or is it that for some people, its just enough to do it by feeling and not really in any formal way. I know some people don't have the talent but trough practice and persistence can become really really good at drawing human figures. For them I imagine sticking to a "system" is more important. Than there are pioneers like Michelangelo who had to invent his own system.
Some scholars further divide Mannerism into two periods. Early Mannerism, which expressed an anti-traditional approach and lasted until 1535, was followed by High Mannerism where a more intricate and artificial style appealed to more sophisticated patrons, becoming a kind of court style. Later, the use of the term Mannerism to denote a particular period of art history was pioneered by Luigi Lanzi, a 17th century art historian and archeologist. The period would become a forebear to the Baroque period.
Key Ideas & Accomplishments
A key element of Mannerism was the use of figurative serpentinata, or "serpentine figure" in depicting human bodies. With extended limbs, elongated forms, and a fluid S-shaped grace, these figures presented an otherworldliness that departed from classical renditions.
Many Mannerist works presented individuals or scenes in non-naturalistic settings, oftentimes without any contextual basis, inviting the viewer into a more philosophical experience rather than a literal reading of the work.
Mannerism's reach was wide, with many important schools that cropped up to experiment within this new form. Yet, while each school drew upon its own indigenous attachments and cultural lore, the styles of presentation remained largely the same.
Subjects and themes of Mannerism furthered the Venetian School's genres and expounded upon them. Mythological and allegorical subjects with an erotic theme, architecture, landscapes, and pastorals were common motifs albeit evolved via the new morphed aesthetics.
By the time we get to Caravaggio, they say he most likley used not only live models but also a kind of primitive Camera obscura techniques to paint. I guess the more I study this stuff the more I see that yes, its important to learn from others, but one should also not be afraid to experiment once one learns the fundamentals to create their own style. And stand out on its own.
I'm sure you would agree.
Did you have this comment ready to go in a word doc or something?
@@granitrocky1129 No, I just wrote that and found part about mannerism online so I don't have to write it myself. But I do have notes where I keep various ideas and quotes as one has sketches.
I've seen many different artists all draw in many different ways, typically I see artists start from some kind of "formal" way, or at least an abstraction of it, then build on something themselves, even if they don't realise it. Something that Kim Jung Gi said really stuck out to me in this way,
"It's a tragedy you can't see the invisible lines that I see" (I'm sure it's a little misquoted, but it was along these lines)
@@ly_0 Good quote even if paraphrased. Yes.
That dark line you draw between the light and shaded areas on your figures isn't always there. I can't help but feel it's a bit of a trick that you saw worked well in one drawing and have applied it to everything since regardless of whether or not it exists in reality. It makes figures look metallic when overdone, though, and isn't an accurate reflection of light conditions. I feel it's become more about style than accuracy, but maybe that's just me : s
Hate to break it to you but everything is a style choice. The shadow line is just one more imaginary line that can help define the figure, no different from outlines, or overlap lines or any other line that doesn't actually exist.
It's not a "trick", it's called the terminator and is literally one of the main concepts of how light and shadow work. It's the part of the shadow that gets the least reflected light and is therefore at its darkest. While it is true that the terminator is not as visible in every lighting scenario, it's not some cheap trick as you kind of rudely made it out to be, it's grounded in how light actually works. And yes, it is definitely a stylistic choice but when did Kenzo ever say it was about perfect accuracy? Light and shadow is one of the biggest areas of freedom where you can push and pull shapes to express what looks good to you (preferably while still keeping the forms from breaking)
Why are his male models so HUNG????
thnaks for the video!!