Dessine un Combattant à l'épée : Le corps en action dynamique

Hi today I would like to show you how to draw a warrior who holds a sword and who is going to fight against orcs or the enemy of a kingdom so it's very interesting for you if you want to draw a hero with a sword for your fantasy universe so here you will see we will focus essentially on the movement and on the shadows that's it in fact the shadows that will give a dramatic air that will push the action and double the movement of your character through this video I will analyze a drawing session of a living model that I did according to photos so it's super interesting to show you how I draw the action pose from a to z so you see here what I like is to start with a warm-up of two-minute poses so we focus essentially on the movement so you see if you notice this bed I did not draw the quadriceps, the knees, the tibia and then the calves and then the muscle here and then the heel and the front part of the foot you see I simplified in a kind of curve even if it's not aesthetic here even if it's not very beautiful it's the beginning it's the warm-up so you excuse me everything we agree so this is the warm-up what I like to do is the two minutes so this is just the start even if there are a lot of mistakes you see here we have the head which is unfortunately too small here and that's a mega mistake on my part you will see that on the tablet what is hard is to have the right proportions usually on paper I can get out of it but on the tablet I always always make proportions mistakes why is it because you see here I write do not zoom in a small cross and zoom in is especially because you are too used to zooming in the problem too is that I bring my head closer and I have the voice of my head I bring my head closer I have the voice of my head so I focus on a small detail and I forget the proportions so be careful about that I know that it's hard the proportions especially the eye but you have to get used to it I have the eye to spot the wrong proportions but on the other hand my hand does not follow it is because I lack practice on the tablet I would have to continue and I also advise you when you practice not to despair also to say yes you will evolve and that in your drawing all your problems will be corrected and it is very hard it is not simple but you must not despair when you do not succeed so here what do I do I placed the head and I placed the thoracic cage it allows me to position well you know head and pelvis and then here what is interesting is that I speak directly here to the navel and then I try to place his pelvis well and you see here the head is too small again it's horrible to see that and especially I'm ashamed to show that and you see there too what I like a lot is the rhythm here hop the leg you see I did not complicate myself to draw the feet here we are in the movement essentially and you will see that the fighting poses the action poses it is especially the movement you see there are problems with the proportions after it is the warm-up you excuse me it's normal it looks like nothing it's normal there we have a crab man here so here you always see the shoulders then the line of action you see the line of action I do half of it because I manage to understand that when I make a line of action here it goes well there normally it should be done in a single line but there as I am on the tablet I am not used to it yet I have lost the habit afterwards if you want to progress on tablet drawing so there are several ways to draw on the tablet but here we are on the movement which is much harder but there is a much simpler way that I call the multi-layer method that is to say you draw on several layers that I talk about in my private emails it's a little course if you want to receive this little course I tell you more at the end of this video there you see here I try I really think about tentacles you know in movement it's like if the model had tentacles and he tries to hit to give a blow of tentacles to someone you really have to think about that and you will see that as soon as you think about that you will give a lot more movement to the drawings of your characters and so on there the head is still too small so there I will make it bigger I always do that I always do that so I hope you do not hesitate to follow me to subscribe to this channel because I think I will make a lot of videos like that where I comment and analyze my drawings like that it will also allow you to avoid mistakes and learn a little more in the drawings of the human body I accelerate a little bit so here I place the shadows so there we are still in two minutes there what is hard is that we have a kind of arm that is forward so the arm is super big so we are not used to drawing like that but it is interesting to address this subject and then we have here the small form that is abstract that mixes we have here the shoulders and then the triceps and the elbow that we see a little bit and it feels weird I always like to start with the head I know that there are artists who start with the pelvis, what I like is the head and it allows me to place the body and then the shoulders and maybe there with hindsight I find that I focus too much on the anatomy while I should have I think to go straight like that like that you know really on the movement the problem is that the model who is called Noah is a very famous artist in the United States he takes reference photos with his wife it's super cool their photos are professional level the problem is that he is muscled and I tend to follow the lines of his muscles while it is really the movement the movement the movement that is to say that we simplify all the muscles in a single line and so on really to say that it is a movement we must not dwell on the details like the muscles so here we are in five minutes I have my little stopwatch here if you see so here we go on a drawing of five minutes just a single break of five minutes then we go on three breaks of ten minutes what I do is I like to dwell on the head there I take advantage a little bit so I just do the head obviously the head will still be too small you will see I will change it again but it doesn't matter here what I like is that you know we have several plans we have the arm here we have an arm behind and we have in the middle we have the body so I find it difficult to place the bust here while I like to place the bust you see here I helped myself to draw the two deltoids here it allows me to place the shoulders quickly I change the size of the head and there I go on a shape that is very dynamic even if it feminizes it, it doesn't matter because here essentially we focus on the action on the movement so here I accentuate a little bit this part there you know here it allows me to give a force to his arm I contrast it and it gives a really supported effect accentuated on the action of his arm so here we go on breaks of ten minutes so here it's a little bit more fun so here too I do anything again the head is too small so here in fact by redrawing the bust I had to correct the head there I put it I drew the arms too big after you see don't worry for the proportions you don't have to be strict you can correct at any time especially digital time so we will say it is erasable at any time here I would have to take more confidence on my line too because there in fact it is too noisy I don't know what is said so I hope I will improve on the next drawings or finally I will inevitably improve but there it is the repeat that's why I'm not used to it anymore I'm not used to it at all so here you see the leg here we have a movement that goes there and that goes there but on the other hand here all the weight rests here and rests here which means that you should not hesitate to accentuate you see here this line that I gave there very supported a straight line so that we can really feel that the movement stops here and that the power in fact of the throw goes there so you will see that is what creates a very dynamic movement of the impulsion blow of the sword that's what is beautiful and that totally you can't draw it in a living model in the workshop with a real model there is only in photos that you can do that because you know how to do this movement and last ten minutes it's impossible it can be done in motion it takes the photo in motion and there is only that where it is possible so here what I like is that we will finally be able to start shading this part there this part there so it will allow to give a much more dramatic side to the pose and it gives all its atmosphere and the effect of power I find I don't know what you think don't hesitate to tell me in the comment of the pose and that's where you see you feel that the warrior you see he has he is he is muscular we feel that he is strong and it is all the power of the shadows that does that and there I don't know if you noticed but the shadows there I do it in one value I just do it in black why is that because it allows me to really simplify this shadow there to simplify it and structure it that is to say that if my shadow does not work it means that I have badly observed you see you can't cheat with your shadow when it is in one value and I really advise you to do that obviously it will ask you to understand the anatomy well and especially if you spend a lot of time observing that is what is the most important is how you will simplify and observe the volume and translate it by a shadow to a single value which is in black on your drawing that is where you really do an artist's work that is to say you simplify and you manage to communicate the form to a spectator that is essentially what is important is how you will simplify things so that the spectator understands your drawing your pose and the action that you want to tell this action this pose there you will see it is a throw that starts from there so you will see here I will accentuate on this arm there a contrast of the shadows you will see here you see the shoulders should be a little higher but it works it doesn't matter you see here I really accentuated this part there so that we can really feel the action you see it's flat flat flat and flat and you see I don't know if you noticed but I love the deltoid it's this muscle here and what does it do you see its shadow it's as if it indicated that you have to look here and then with another shadow it indicates that you have to look here there by this shadow which is very strong here you see the line that I have contrasted well it indicates that you have to look here you see it's a whole game of movement there is also obviously there is the look the look of the character here who looks at the sword which means that you see you look this sword there and you really feel the movement that is going to go there and in addition with here there you see this leg there I put it in black here I could have put it here in the light but I decided to put it in black because it really allows to give an impulse to this pose there and really it is the pose it starts there and then hop we have the leg here that rests we feel that all the movement is concentrated in this area there really the shadow is not only to describe a form it is also to take advantage of the contrast to accentuate the line to really direct the gaze of your spectator and that's where you really create a pose that is convincing and that is impactful. Then here I'm going to take a little time to draw the head because it has an expression that I draw rarely and in addition I couldn't zoom in on his head here so I had a little trouble I had a little trouble I think I didn't do it too well so obviously it's not over it doesn't look like anything yet he has a jaw a little too forward and it looks like it's a little bit backwards but you see that's a matter of lack of practice you see me by the eye I see my mistakes but I just lack practice there so I have to rectify that it's not possible as a teacher it's not possible but at least you see it allows me to show you that if I struggle after I don't know if it's good to show that we are struggling but it allows us to understand that already it's not as easy as you think I find that it reassures because even if you fail even if you fail by seeing the others so struggling you reassure yourself in a certain way that yes it's easy finally that yes it's difficult and it's normal not to stop it the first time it's normal not to get there the first time you have to repeat repeat repeat repeat repeat and this kind of drawing there your evolution you see it on 100 drawings that is to say that I am going to take a break here that is to say that when I was doing the workshop I did it in two years anyway fortunately I had paid a fee of 20 20 drawing sessions in a free workshop that is to say that you go to a workshop you just draw the living model and there we don't have a teacher who follows us so you just draw the body and frankly I did well to pay a fee of 20 sessions because from the first 100 I was disappointed with my drawings but well as I paid I went I went I went and I didn't see my progress I was a little depressed and it was also the evening it was Wednesday night so after work I was hired after work you were tired anyway and here you were going out at 11 p.m. of this session there you feel tired and you don't have each drawing that you did you find yourself average and that's where I noticed it's at the end towards the end of my 20-hour break I had finished my sketchbook and I was looking at my first drawings and my last drawings like 100 or 200 and I really saw the difference and I saw the evolution and it surprised me because I didn't notice that I was evolving and in fact that's what's funny it's that you progress when you progress you don't see your progress at the moment you don't see it it's because you don't have you don't have a comparison and that's what's important you have to go and look for the comparison especially at your level of the past so at the history of your sketchbook so that's why it's important to keep your drawings it's important to keep a history of your drawings to be able to see your evolution that's very important and that's actually what will give you the pleasure of drawing because you see your progress you see the successes and accomplishments that you have made obviously it's hard to see it at the moment and that's why you have to have that you have to be aware of that and progression is done very very very slowly but it is durable it is durable so don't worry even if you don't progress as soon as you have mastered something it will stay and you will not lose it so don't be afraid take your time that's what you need so here I finish my drawing so here it's the shadows I love to put the shadows it's really a part where I appreciate the most here always using values ​​you see at the start we simplify we simplify simplifies moreover if the drawing of your skin is here with the shadows is convincing when you can put more value it will be even more convincing so it's much better to do that often we do the opposite we put a lot of values ​​and then we try to fix things so it doesn't look like anything it doesn't look like anything and we destructure the drawing I don't know if you noticed but here what I did is that I blurred the edges here it allows you to create more shape and give more volume to the character so here I allowed myself I took 5-10 seconds to correct and you see the pose it is super dynamic I really like this pose we really have a straight line here which breaks the rhythm so here then we have the gaze that goes there then we also have the arm that presses on this sword we also have a large mass of shadows that attracts the gaze so here you see we feel we can feel the weight of the sword you see we also feel that he puts all the strength in his hands to be able to plant something in front of it maybe an orc we don't know and also here I did it on purpose to put a big mass of shadows here why I really accentuated it it's because you see here we have the impression that it's a little bit like like shock absorbers that is to say that here it pushes the movement and here it amortizes the movement and hop we have a really effect of g here as if he was holding a dance he is ready to pierce something and here you see the drawing what I love with the story that you tell the pose is a child it is both the drawing the expression and also the dramaturgy that you create from the shadows and that's what I love don't hesitate to try the experience it's really destined for the body and me but with all this value all this value as I do you will see you will create a lot more impact when you pose and you will create a lot more action and also you will mentalize a little bit more the composition and that's really what is the strength of my way of drawing and the strength of comics that I was inspired by so I really manage to train you in this way and also to teach you how to draw the poses especially in the comic style it is the most aesthetic and practical style to learn and progress this is what I teach in my private emails when I want to discover my way of teaching my universe I have 12 little emails that are totally free you can go see it's just below this video it's a little link you click on it you enter your email and you receive on 12 days an email per day that will teach you the drawing and the character design I tell you goodbye in the emails and the next video hi