Dragon Vouivre : Créature avec des ailes d'aigle (dessin d'observation)

At the beginning, I started with something more basic, that is to say, to draw hatches to give volume. Then, as I went along, I realized that it was not ideal. And that, we only realize it when we take the time to draw observation. Hi ! In this video, I show you how to draw observation eagles. It is in particular to train me to draw the bird-type wings of my dragon. Yeah, it's a dragon that has a lot of feathers. Today, what we are going to see together is how to observe and draw eagles. That is to say, how to draw the details such as beak, eye, claw and especially feathers. You will see the feathers, I struggled for 3 hours, and it was at the end that I found the right method to draw them in only 30 minutes. You will see, it is counter-intuitive because we are going to draw with the eraser. So stay until the end to discover this technique. Let's go ! Hi ! So to continue in the illustration that I am doing, it is a dragon that I draw. It is a dragon that has wings and arms, the same part of its body. It's a bit like this monster, if you can see it here. So here, as you can see, I am really hesitating either to make a dragon with bat-type wings or a lizard, with membranes like that, with fingers. Or I go for something a little more like a dinosaur. But with wings and a lot of feathers. I really hesitate about that. Feathers are really important, even if there are no feathers on classic dragons. But this is a dragon from the Himalayas. In the Himalayas, it is super cold. As the lizards are ... Well, the basic dragon is a lizard or a dinosaur. And the wings are cold. So that's why they can't live in the high mountains. That's why I'm thinking about putting a lot of feathers on it. At least, you know, the feathers here. At least on the upper part of its body. The parts where it must be protected. At the level of its heart, at the level of its lungs. So there, in my opinion, I must have feathers. But in any case, I have to draw feathers. So today, what I'm going to do is I'm going to train myself to draw feathers. Already in the part of the head, you see here. These are feathers that are very small. It looks like hair from afar. But in fact, it's feathers. So I really have to be able to put it in the drawing. In the drawing. And you know, I really like this texture effect. So it's really here that I have to go through. It's more the texture than the drawing of feathers itself. So that's where I struggle. And I would also like to study the wings here. So the wings of the birds are a bit like those of the dinosaurs. Because I think a bird only has... I also did some anatomy research. Here you have the Pteranodon. I think it's called like that. I don't remember the specific name of the dinosaurs. To look where we have the thumbs, where we have the fingers. So here, in fact, this long member here. It's an extension of the fingers. So here we have little fingers, phalanges. And here we have a huge finger. So here we have a caterpillar wing. I know you can't see it very well. Here, the wings are glued to his fingers. It's like having palms, but big palms. To be able to fly. And we also have here, which is different. This is a dinosaur. They have the little ear that is super long. And they have their claws in front like that. So here I have some little references. I really liked this artist who made the feathers. Which are very pointed like that. I think it makes the dragon quite dynamic. But also quite aggressive. These are very spicy forms. In terms of anatomy. I really like this artist who drew this bird. Well, this dragon, but mixed with a bird. With a vulture. I really like the mix between feathers and wings. Bat. I really like that. Here I copied his hand a little bit. But I'm not a fan of the rendering it makes. I can spend more time. But I'm not a fan of a dragon like that. So we'll see. So today what I'm going to do. It's mainly to train myself to draw bird feathers. In the style of comics. I took some references. To see how I can arrange the feathers. To draw just a white ear. And like that, it will train me to draw the wings. Which I find, it constitutes. There is his head which is important. And his wings are very important too. These are the two forms that I have to master. So last time I drew lizards. And now today it's bird feathers. Let's go. I put the music. Well, you don't hear it. But me. I put my music. Let's go. What is important as you can see. It's already the axis of his head. So here I drew a sphere just below. To help me. And then I drew. If I imagined. He has his eyes here. He also has his eyes here. You see. In this way. It allows me to really feel. The volume that passes in front. His head here. And here. Well placed his beak. And place this form there. Here. It's as if I had made a cut. Of his beak. Then. His nose here. And also here. That's very important too. This line there. With. The eyes here. So here the eyes. And here. It's the corners of the jaw. So as when you draw. A portrait. It's important to know where are placed. The jaws. To be able to draw it. So here. We imagine that there is a line in the middle. That goes through there. So. Little trick here. To understand. How do I draw. The shadows here. It's just. Imagine. That here. We have a sphere. So. The shadow here. In fact. We will have. A circle arc. Here. This part there. It's long. So here. We have the iris. So it's very important. To understand. The volume. Here. For the first eagle. I think I turn a little bit. In circle. At the level of the textures. I think it's useless. So many textures. We should see that. We see the birds. We see them from afar. So it's useless. To go deep. All you have to understand. It's at the level. I think we should. You know. For the feathers. I think we should see them. As. Hairs. Finally. Because. From afar. You see. You don't say. It's feathers. Even if. Here. We see closely. You see. It's. We see. It's like leaves. You see. There is a line in the middle. Feathers. It works like that. Except. When you see from far away. You don't see the line. From the middle. In a way. Well. It's hairs. And. Here. The first eagle. Now. So. This time. I will try to draw that. But. It's a. You know. A woman. Like that. With. Feathers. Quite rectangular. But. Pointy. Like that. I think it's great. Design. And. Graphic. I think. It has a graphic side. I don't know what you think about it. Don't hesitate to tell me. I think about it. In the comments of this video. It's going to take me an hour. Anyway. So. I'm going to put my little music. I don't know what you're listening to. You. When you make your music. Me. I like to listen. A little bit. Acoustic. And. Rock. At the same time. So. It's that kind of radio. I like to listen. Like that. I don't have. The music. You see. Like that. I don't have to choose the music. It's a playlist. I just look. What atmosphere do I want to have. Often. I also like. Lofi. It's a style. A little bit. Posted. That I often put. In video. You also have that. It's indie rock. A little bit. You see. You're in an atmosphere. A little bit. Slow. And. So. In terms of rhythm. It's perfect. And. In the evening. Towards the end of the day. So. Here. We are. Towards 16 o'clock. In the evening. At the end of the afternoon. I like to have something. A little bit more. Rock. Alternative. Or even. Metal. Sometimes. But. Metal. The problem with metal. It's that. You have to draw a line. Here. Imagine that there is a line. Perspective. Hop. Here. To place the leg. So. I'm not drawing yet. It's not the time to draw everything. It's just placing the big ones. Volume first. Here. The line is made. We can move on. To the ink. What I like. It will train me to draw. The textures here. As you can see here. There are two types of feathers. There are feathers that are very thin. And you have to draw them. So. Here. We have feathers that are very. Spicy. There you are. At the level of his head. But. Right after. We got feathers that are. A little bit more. It looks like strawberries. Profile. The carrots. So here. The bird's paws. It's like the. The fingers. Human after all. We have a bone. Here. We have a bone. Here. We have a bone. Here. We have a bone. Here. A bone. The finger. We have a bone. We have a bone here, we have a bone here, an articulation sorry, here we have a bone and that's it. So in a way when you draw fingers, here we have fat, here we have fat and here we have bone parts. So a finger looks like this. Briefly of course, I'm telling you quickly. So it's the same here for the birds. You really have to imagine that it's an accumulation of volume. When you break down shapes into volumes, it's a lot easier. And it also allows you to style the drawing. I drew it wrong, it's more down there. After that, it's bird's feet. Few people know what bird's feet look like. So if you're wrong, it's not very serious either. It's not noticeable. Let's go for the rest. I took a break. I took a break and I see some mistakes I made. So there, you see when you take breaks and when you resume, this is where we fix the mistakes. Don't I notice this little detail here? The claw. A claw, yes. The claw here is too big. So I'm going to shrink it a little bit. So as you can see, there's no real secret to drawing wings, complex things. It's knowing how to break down the elements first and take the time to draw them all. There's no real hack technique. Technique in 10 steps, whatever. Understanding the shape and drawing it. So, today is a new day. I didn't continue to draw yesterday, so it's a new day for me. So I say hi. Hi. I have this impression, in my opinion, that you will see the sequences successively. Why did I stop yesterday? It's important that you know. I'm telling my life. I started to have back pain and I stopped. Why is that? It's because having back pain makes the drawing bad. I think more about the pain than the drawing. So that's not good. But also, if you force yourself to draw every time, you will associate this painful feeling with the drawing. And your unconscious will associate the pain with the drawing, with your drawing activity. And it's not very good in the long run. That is, if every time you force yourself to draw, there is a moment when you will no longer feel like it and you will give up drawing. So take that into account. It's basically regularity in drawing. And as soon as you don't like it, it's better to stop and say, Don't force yourself. Because if you force yourself, it's a little bit like squats in sports. The first session, you go all out, you push very, very, very hard. But the problem is that the day before, you're going to have squats for two weeks. And obviously, if you have squats every time for two weeks, you're not going to want to go to the gym. And that's why you can't be regular. So it's better to start slowly. In sports, you start slowly, slowly. You put on very light weights. And that way, it avoids you from having squats the day before. And that way, you can go back two days later, three days later, and so on. To have regular things in the week. And then, when you're used to it, you can start putting on a lot more weight, going a lot harder. And that way, the muscles that got used to it, the squats are very minimal. I'm talking about knowledge of the cause. By the way, if you like this type of video, little tips, to see me drawing live. Don't hesitate to tell me in the comments what you think of this video format. I like it a lot because it shows you what I'm doing. And also, it's fast in terms of video editing. And I think it brings you a lot of content, of value. And so, don't hesitate to tell me in the comments what you think. As you can see, this kind of texture, we're not playing with the value. We're not playing with the coherence of value, but we're playing with the coherence of mass, of sensations. Graphic. It's not drawing with gradients, the right value, and so on. Of course, there are parts where, for example, this part is in the shadow. But, you see, I see it as something graphic. And I treat it more like comic drawing. What annoys me here is that you have to flatten quickly in black. It works a lot better. You have little messes like that. Like that. It makes more noise than it describes a texture. So every time, you have to think about why it's better to flatten sometimes. And not to complicate life too much. I have proof of that. You have to look for simple things. Sometimes it works a lot better. I think I understood my mistake from the start. I should have started directly with black. I should have made a flat directly with black. And draw in negative. That's what I should have done. And not fill in the little black spots. So here, what you have to do is draw in negative. So here, you see, I make a selection. And I'm going to do a few little spots like that. The other way around. I'm going to draw in the end. Like that. Already, it's better, you see. Visually, it's better. While it's just a flat area that I made. And that's where we're going to dig. We're going to draw little simple things like that. It's a lot faster. That's why I like to draw in a flat area. Don't hesitate to watch my video on creating volume without degrading. And in fact, the goal of doing this is to think in a flat area. And by the flat area, you will create a lot more volume in a much simpler way. And much more realistic. That's what's counterintuitive. It's that the gradient usually breaks the volume. Because it's hard to make transitions. Whereas when you make flat areas. In fact, it's going to flatten an area and bring out another one. And that's what creates the volume. It's an illusion. In a very basic way. Anyway, that's great. Because I didn't realize that it was so hard to draw the feathers. At first, I started on something basic. The basic process. That is to say, to draw hatches to give volume. Then, as I went along, I realized that it wasn't ideal. You have to draw in negative. And we only realize that when we take the time to draw observations. And usually, when you draw with your imagination. You may make it go down like that. And you don't realize that you're doing things wrong. While you take the time to draw observations. It's much simpler. And it allows you to spot potential errors. That you wouldn't have noticed. When you draw with your imagination. And that's very important. And it's something we often forget. And it's problematic. And I didn't encounter these problems when I drew my dragon. Because I was working on anatomy. I was working on things that were a little bit useless. And I wouldn't have noticed that it was so complicated. I wouldn't have found a good way to draw the feathers. I drew them a little bit randomly. Here's my eagle. I hope you enjoyed this video. As usual, don't hesitate to tell me what you think. The next video will be another training. It will be dinosaur and bat drawings. And don't hesitate to subscribe. And watch other videos on my channel. Especially on the drawing with lizards. It would be interesting if you haven't seen the video. It's the same principle as this video. It shows you how I train. It's interesting to see the lizards. Because I use simple volumes to draw them. And that's very important. To see how it works. I think it can really help you. In your observation drawing. Here we were more in the texture. It's really different. I invite you to watch the video. See you in the next video. Bye.