All language subtitles for 039 Form In The Body Form.en

OK.

So now that we've talked about line and shape now it's time to talk about form.

So form is basically just taking these shapes and converting them to into actual three dimensional forms.

Now looking at these you could almost say that these are already three dimensional forms.

You just can't really tell because we're looking at a straight on view.

But if we kind of change the angle of you could say our camera then it's going to make it so we can

see or form a little bit better.

So what I've done is already went ahead and I just marked out the top of my head and tapping my feet.

So we're just gonna kind of redraw the same thing but I just marked it out already just to make this

a little bit quicker and we can go ahead and just draw our line of action which is just a straight line

in this case right.

So this is just going to basically be how we usually do it.

I'm going a very lightly kind of sketch out my trapezoid shape

not my pelvis

and going very lightly because I want to block out the shapes.

I want to see the shapes there and also still be able to draw on top of this with our darker lines so

that we can actually draw our form in so or shape you're just going to be used as a guide for our forms

so we're basically just sketching in what we did before just very lightly kind of do some triangles

for the feet

and go out and do the shoulders to some ovals FOR THE SHOULDERS we'll do the lightning bolt sort of

effect

your hands go a little bit below the crotch line.

All right great.

So now that we have that lightly sketched in now what we can do is we can kind of start turning these

more into form.

So in order to see this the forms a little bit better what I'm going to do is I'm gonna make it so it's

a little bit more of a down angle on our person in a little bit more from the side.

So what that's gonna do is it's gonna turn a trapezoid shape into something more like this.

So go ahead draw on the front face of it

like that but I'm kind of drawing it a little bit more angled in that direction so I'm kind of shifting

it over and squashing it just a little bit and then I can go ahead and draw up the side surface of that

just like this.

And you can see it starts to form kind of a cube sort of form all right.

Great.

Then we can go ahead and draw on the shoulder so the shoulder will just be an overlay that we can draw

the other one on the other side.

But it's mostly gonna be covered up by this form right here because of the angle we're looking at it.

We can even add some construction lines and some lines around this just kind of show that that's around

almost sphere like form then we can go ahead and break the bicep down into a simple cylinder.

So we're just gonna kind of use this lightning bolt effect as a guide but we want to make that a cylinder.

We'll do the same thing for the four arm since we're looking at it from this angle.

We're not going to see actually we might see a little bit more of a round surface at the top and right

here we're actually because of the angle we're looking at at we're gonna see we're not going to see

the flat surface of the bottom of that cylinder.

It'll be more like that

then we can kind of draw a ellipse oil or an ellipse type of surface right there kind of connect that

into a triangle just to kind of make it a sort of warped cone like shape for the palm of the hand.

We'll do the same thing for the other arm

just kind of like this

perfect.

Then let's go ahead and let's do the pelvis area.

So we're just gonna use kind of a box shape for this.

You can see that we can see the top surface of it.

Just like we could see the top surface up here.

Go ahead and shade that in a little bit just show that maybe there's a cat shadow being cast from this

top cube sort of trapezoid shape go and bring this down like that

great.

Could even shade in the side of this box as well.

Just add some more form and dimension to it.

Perfect.

Now we can go ahead make these legs into more of cylinders so I'm just going to kind of draw the top

surface of the cylinder like that we're seeing the top surface of all these forms because this is kind

of looking down on them.

So we see more of the top surface of these rather than the bottom surface so we'll get to the other

side rather than seeing the bottom of the cylinder.

It just rounds off like that

we'll do the same thing down here for the calves and the shin so you can see that oval shape right there

for the calf and then they're just going to turn in to tapered cylinders

that just kind of sketch and some something simple for the foot.

And actually since we're kind of looking at this and a down view and he's kind of angled a little bit

differently when I make this foot kind of angled more like this

and the other one will kind of see a little bit more from the side view and a little bit more of a top

down view.

So it's just kind of a box you almost like pyramid worked pyramid type shape.

Some like that

right.

And then for the neck we could just go and do a simple cylinder shape and then for the face just go

ahead and kind of create sort of a raindrop type of shape or form mark at the center of the face and

where the eyes might be

right there we go.

So there's somebody broken down and kind of simple forms.

And so you can see how we went from line to shape and then now we turn those shapes into simple forms.

So let's go ahead and let's have a look at another example.

Let's look at some reference so bring back our drawing or picture of the sky that's running.

We're gonna go ahead and we're gonna convert this into more of a three dimensional just breakdown of

his form.

So let's go ahead and start with a line of action.

We want to follow it perfectly sometimes as you start to draw it's better to kind of veer off from the

line of action the line of actually just to give you an idea and to remind you where it is that line

of action is kind of moving the general direction.

So you go ahead and just start by drawing the head right.

And I'm just gonna start blocking this out really lightly.

And if the proportions look awful change it but if you want you can go out and work out the Center for

the crotch the feet the knees all of that good stuff.

But I'm just gonna start blocking things out real quick

so now that I have this very roughly and very lightly blocked out I just kind of know the general placement

of where my forms will go my chest my pelvis my legs I haven't even added in the arms I could just kind

of sketch out some simple stick figure type arms or whatever but I just want to get a general idea of

where everything is so I make sure that my proportions are right my shapes are looking pretty good as

well.

And that includes the the size of those shapes and even just like whether it's a rectangle or square.

So that's what I'm doing right here.

So now we can go ahead and start adding in those three forms.

So first let's start off with his upper chest area.

So I'm gonna go and just start sketching in the same trapezoid shape but as you can see you're going

to be seeing the back surface of that and it's angled a little bit more so it's probably gonna be something

like this

so there's are back surface and then we can go ahead draw a line coming across like that to draw the

top surface of that form now we can go and draw the side surface just like that.

Now since he's running what's happening here is his body's twisting so we're kind of seeing his upper

chest twist the opposite direction of his pelvis area.

So that means that we need to go ahead and draw his pelvis in a little bit more straight on with the

viewer.

So let me show you what I mean.

So you're going to draw a rectangle like that

so we're seeing kind of a little bit more of this side surface more than we're seeing on this upper

form.

Right.

So this kind of creating a nice dynamic look to the pose where the upper chest is twisting away from

the pelvis area and that gives us some really nice dynamics.

If we were to draw the spine running through the middle of this shape right here so we'd have a line

right there to represent the spine and we did the same thing over here on the back of this box.

Then we could go out and connect those.

You can actually see right there where the spine is actually twisting in our form.

So this is why we actually break the pelvis and the chest up is because those are kind of two skeletal

structures that can twist away from each other so we want to make sure that those are separate when

we draw them or when we imagine them in our heads.

All right.

So let's go ahead continue on next.

Let's go ahead and let's draw out the calf or the sorry the thigh.

So I'm just going to basically come right off like this and draw a lightning bolt effect

right.

Just like that that I can go ahead and draw the back of the thigh up like that draw my shin just to

kind of a straight line like that can do the other leg.

Now to start with this upper part right there and kind of zigzag back that way and then draw on the

calf

actually that's looking a little bit too short.

So we go ahead and lengthen this out a little bit more

something like that and I'll go and draw that caffeine draw the backside of the thigh

and then for the buttocks we can go ahead and just use kind of Selim or sphere type shapes.

So do one right there and then another one right here.

We can just kind of represent those with circles that we can imagine that they're just spheres

and they just kind of run right into this form right here.

So you can already see that we're really starting to recreate this.

This photograph here but with actual forms.

So let's go and continue on so many.

Go ahead and move onto the shoulders now.

I think this is protruding out just a little bit too much I mean to kind of make that a little thinner.

And I can go and draw an override there for that shoulder and I'll do an oval over here for this shoulder.

Right.

And then we can go ahead do the zigzag effect.

So shoulder biceps and I'm looking at my reference to make sure that I'm kind of following that same

curve in the same size and everything.

What kind of transfer that over to the elbow

something like that.

There we go and sketch in

sort of a shape like that for the hand and then let's go and do the other one so we'll start with the

shoulder zigzag back to the biceps.

We're just gonna want to bring that straight down and then we'll just do this outside edge of a forearm.

And then we can kind of just turn these into forms like we did over here.

So start with the cylinder right here.

We want to look at a reference to kind of understand what angle or viewing that from.

So there's kind of a cylinder like that right there.

So we want to capture that

and there's another cylinder right here for the fore arm that comes right down into the wrist

shoulders are just kind of spheres a little bit more long gated but they're basically spheres.

So we could go and market out kind of some construction line just kind of show the roundness of that

and go and do the biceps cylinder that would do the same thing right here for my forearm

right.

And we just kind of connect make the elbow with just a line.

It's not really part of the forms just kind of a line that kind of connects all that together

and we could just do a cylinder for the head or sorry a cylinder for the neck

something like that.

It's going to draw what we see there in our photograph.

Can I get it.

You're there so just kind of draw on a simple ear or whatever.

It's come back down here.

Come to the feet so the feet just kind of draw a shape that kind of represents that we're seeing it

from the side view really so I'm not going to see that much form going on there and we'll see the bottom

of the feet just a little bit go into the other one and we can going to make these look a little bit

more like cylinders by drawing a more like that

and sketching this foot

and we'll see the bottom of that for a little bit as well and then what we could do just to see the

forms a little bit better is we can add some wire framing if we wanted to use across here we could just

kind of add some lines show like hey that's the surface right there.

All right.

Could add some construction lines kind of show the curvature of some of these round surfaces.

All right.

So there we go.

So that's an even more realistic looking human form that we created using actual geometric forms.

It's a little bit more realistic looking at this because the pose looks a little bit moralistic.

We base it off a photograph.

So what I want you to do now is I want you to go ahead and download the photo not this one but I have

a photo and the resources for this lecture and I want you to download that and I want you to go ahead

and first break that photograph down into its simple lines and then once you have it broken down into

simple lines you can use the same drawing and then just build off of that and lightly sketch in all

the simple shapes.

And once you do that then I want you to convert those simple shapes into these simple forms.

And this is really going to start getting you thinking about the human form as just simple geometric

shapes forms and just lines.

All right.

So.

And don't forget about the proportions.

So if you are kind of forgetting about that a little bit remember that you can download the resource

where I actually have the human form drawn out with all the proportions and stuff so that you can go

back to that for reference as you're drawing your own human forms.

Thanks for watching this lecture.

And if you have any questions please post them to the CUNY section the course and I'll make sure that

those questions get answered.

Thanks for watching.