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Hello, I'm artist Sungmoo Heo.
Today, we're going to understand
and draw the sense of form.
Anyone who draws knows how important the sense of form is.
You've likely practiced this countless times.
What exactly is the sense of form?
How can we express something
to enhance the sense of form?
The sense of form is a shape that conveys
a sense of three-dimensionality and depth.
It's a feeling without awkwardness.
For example, when looking at a drawing,
it refers to a shape that feels solid,
three-dimensional, and complete.
Elements for the sense of form,
which are Shade and depth.
And the strength and weakness of lines.
In fact, the sense of form doesn't hold much meaning in photos.
Photos already have realistic light and shadow
that fulfill the sense of form.
Because natural depth is already present.
But if a drawing doesn't meet the minimum of these elements,
it gives the impression of lacking or incorrect form.
Of course, that doesn't mean you have to draw
just like a photo for a sense of form.
It's all about understanding form
or the sense of three-dimensionality.
Think of it as using minimal devices.
So, what's the difference between a drawing
with a sense of form and one without?
First, let's look at the sense of form in lines.
The left is a drawing with a sense of form.
The right is a drawing
where the sense of form is partially broken.
The lines in the right drawing are not uniform.
There are parts that are misaligned or broken.
These parts weaken the overall sense of form.
Also, parts like arms and legs
that should be symmetrical are not.
This also reduces the sense of form.
Especially in the human body
if there's no minimal
three-dimensional space at the joints,
the sense of form appears very diminished.
The left drawing on the other hand,
has symmetry fairly well aligned.
Additionally, it uses light pen pressure lines in each space.
This enhances the sense of form.
There are recessed or overlapping parts.
Adding core shadow effects to these parts does this.
It brings out the three-dimensional look.
Even thin surfaces have parts with thickness.
These parts have been given
sufficient thickness expression.
So, a certain level of
three-dimensional flow is preserved.
Let's use light pen pressure in the middle.
To draw transitioning surfaces or edges.
Parts like joint positions
in the body subtly play their roles.
Both internally and externally in the drawing.
Weak and strong lines further enhance the sense of form.
Not just the basic form.
The effect of lines also strengthens the sense of form more solidly.
Adding shade might make the form look a bit awkward.
Light and shadow provide a sufficient three-dimensional feel.
So, the sense of form can be preserved this way.
This can be used to create
optical illusion effects or unique images.
But we have a certain duty for our art.
We have a duty to be
very clear to the viewer.
So from the start, keep this in mind
when drawing the foundation with lines.
It's important to consciously focus on the sense of form in the lines.
Let's look at what to pay attention to
in order to maintain the sense of form.
First, always be mindful of overlaps.
Depth occurs in overlapping parts.
But they get obscured by overlapping.
So, it's common to lose the sense of form in these areas.
Draw the shape of the overlapping object to some extent.
Then erase the hidden parts as you draw.
This can be considered a sketching method
necessary for the sense of form.
Sometimes, things are drawn ambiguously attached like this.
The artist might say it's not attached.
They might think A is protruding and B is recessed.
From the perspective of someone seeing it for the first time,
one can't tell what's protruding or recessed.
So, you need to draw a bit intentionally.
Creating an edge that gets obscured is also good.
This is something that can be considered necessary.
Second, alternate check symmetrical parts while drawing.
Symmetrical parts can unintentionally be drawn
with slightly different thicknesses or masses.
Or they might be drawn in different sizes.
This is because the overall view of the drawing is still narrow.
To broaden this view, this is important.
It's important to develop the habit of
checking the whole drawing periodically.
Third, draw basic shapes like circles or ovals first.
This is to establish minimal safeguards.
In overlapping or curved areas.
The sense of form often breaks.
Therefore, draw the minimal 3D form of the subject with basic shapes.
It's very important to first
draw basic three-dimensional shapes.
Especially for parts like the head, torso, and joints.
For parts that move or change often,
first draw basic shapes.
It's good to maintain this while drawing.
This goes for drawing the head as well.
Don't draw the jaw, eyes, nose, and mouth first.
First, draw a circle and a centerline.
Think about which parts protrude or recede and by how much.
Add or subtract these elements one by one to preserve the form.
Fourth, consistently use straight lines.
This is also necessary in areas with curves or overlaps.
To prevent the sense of form from breaking.
We generally feel stability in straight expressions.
Create minimal safeguards through straight expressions.
Subtract a little from here.
Or add a little.
This is to gradually enhance the sense of form.
Even in curved areas like circles.
Instead of trying to draw the line in one go, do this.
Draw it slightly straight.
Try drawing with the feeling
of connecting surfaces little by little.
Organize the edges that appear in the middle.
Draw as if connecting the straight lines.
To slightly enhance the sense of form.
Fifth, use surface lines to check volume.
A surface line is a line that represents
a cross-section of a three-dimensional object.
The more complex the surface,
the more attention is needed when it tilts or moves.
It's very important to check how
the surface line is integrated while drawing.
Check the surface line
when layering another surface on top.
For example, like folds in clothing.
Like this.
Check when adding another surface.
Check when adding any unevenness.
Check when adding any patterns.
Use surface lines to check these things.
Lastly, the sixth point is this.
You need to study the boundary
between light and shadow together.
To study the shade of the subject together, notice the following.
The boundary between light and shadow
as it goes from the lit to dark side.
It's also good to study this together.
This practice is necessary to enhance
the sense of form once the basic form is done.
So work on other elements first.
I recommend studying these aspects together afterwards.
To fundamentally improve the sense of form,
the most effective practice
is to observe and draw real objects.
When you actually observe and draw the subject,
you can naturally visualize the hidden parts.
So it greatly helps with the sense of form and sense of space.
On the other hand, when drawing from flat photos or images, things get hard.
Such as when there are hidden parts.
It's hard to perceive them due to lighting,
environment, editing, or optical illusions.
If you can't directly observe and draw a person,
try composing by layering simple figures or objects.
I recommend practicing by drawing this.
Now let's look at the reference together.
We'll check the sense of form.
And we'll practice line drawing skills.
First, I've brought the first reference figure.
We'll start by sketching this roughly.
One of the most common mistakes
is drawing the silhouette first.
Say you draw while looking
at these uneven parts one by one.
At first glance,
it seems like the details are placed in the silhouette.
It might seem like it has a high level of completion.
But this way, you'll miss the internal form,
proportions, and important parts, right?
So, think of the mass and volume inside.
Try to draw while considering them as much as possible.
First, the head.
Draw a circle to provide a minimal space.
Connect the eyes and eyebrows to capture the tilt of the face.
Connect the nose, chin, and brow to establish the centerline.
And consider where the neck is positioned.
Draw it like a cube.
Consider how far forward it is while positioning it.
Then we'll separate and look at the torso, shoulders, and arms.
Think of the waist as the passage connecting the thorax and pelvis.
So start with this amount of space.
Draw a somewhat three-dimensional mass.
Check the tilt of the centerline as well.
Connect the tilt from the waist to the pelvis like this.
The pelvis also has a minimal mass to some extent.
Draw it with a tilt.
Draw while thinking of a slightly reclining, compressed sphere shape.
Moving on.
Sketch the hip joint space as a minimal circle.
There's something often missed in the legs.
The mass can break when drawing the outer silhouette.
Or the proportions often break when thinking about the mass.
Look at these one by one.
Think about the proportions first.
Because they're the most important.
First, check the knees.
Draw the minimal space at this area.
The same goes for the other side.
Consider the tilt and proportions to think of the minimal space.
Next is the ankle.
The ratios from groin to knee
and from knee to ankle are the same.
Think of it in this way.
Additionally, at this stage, know this.
Check which direction these are turning.
It's good to check these parts together.
Draw the foot in its minimal form.
If it's too difficult,
it's okay to draw it as a shape like this.
If you break it down a bit more,
there would be the toe mass,
heel bone, and ankle bone here.
It's good to draw while thinking about these.
It's a bit long, so I'll shorten it a bit.
For symmetrical positions like the knees or feet.
Use these lines in the middle to check the position together.
These parts become important
when considering space while drawing later.
So you need to check how far
the other side is positioned and tilted.
Make sure to check this together.
And the centerline is very important.
This is important for drawing any shape.
Especially since the human body is often symmetrical on both sides.
Whatever it is.
So it's crucial to draw
how far it is from the center.
So, no matter how you draw,
the centerline should become a habit.
Make sure to keep this in mind.
The same goes for the arms.
First, establish the proportions
and then draw the shape.
At this time, the proportions are not drawn by estimation.
You need to think about its relative position to other spaces.
Drawing while considering these things
are very important for recognizing proportions.
Think of the hand as a slightly flat board.
Draw the silhouette.
The same goes for the other side.
There should be minimal space for the shoulders, right?
If you draw the silhouette of this part first,
it's hard to preserve the sense of form.
Then check the relative position to the head.
Draw the proportions of this minimal space.
This might be a bit cumbersome.
Even for those who have been drawing for a long time.
If you don't go through this process,
the sense of form often breaks.
I highly recommend practicing this way.
You should also add form to the legs as a mass, right?
Even now, instead of drawing the silhouette of the leg first.
First, think of the minimal straight mass.
Draw it like this.
This becomes the minimal mass.
You can trim the ankle a bit more from the calf here.
You can add a bit more to the calf.
You can upgrade the form like this.
At the same time, draw the surface line as well.
There's no need to rush.
By drawing these basic parts,
you can naturally enhance the sense of form.
But what if this doesn't work?
If your view is narrow,
this curve would feel very large, right?
If your view is narrow, you'll draw it like this.
Try thinking of it as if you're looking from afar.
Let's look from afar.
How is it?
You can't really feel the curve, right?
So think of it as if you're looking from a bit further away.
Then it's reasonable to draw straight first and then add.
If it's not the case,
then following the curve can break the form in these areas.
Look through the drawings you've done so far.
Check if there are any of these issues.
There are definitely a few parts
like that without you realizing it.
Right now, there aren't any special tools.
But when adding clothes, armor, or fur,
there can be cases where things break
while making adjustments.
Make sure to check these.
I've added minimal volumes like this.
Let's reduce this a bit.
I'll start adding volumes here little by little.
Let's start with the head.
I'll slightly flatten the side.
I'm using a slightly thicker brush right now.
Say the brush is too light here.
You'll also end up focusing too much on small unevenness.
So, use a brush that gives a rough feel.
And think about capturing the form roughly.
From here on, try this.
I'll adjust by adding or subtracting little by little.
There's a shoulder line here.
There's a curve in the chest here, right?
This part isn't about following the shape and shade.
But considering the direction
and amount of volume,
that's how I'll add it.
Consider the position of the thorax.
And where it touches and falls from the underside.
These things need to be considered together.
So, it's good to draw the connecting points
that aren't visible here.
There will also be a center line for the chest.
Add those parts as well.
The shoulder is being lifted now.
It feels like it's dropping from above
and pressing slightly to the left.
There's a slight tilt.
Erase a bit to add more tilt.
Draw as flexibly as possible at this point.
You don't have to draw the line too straight.
It's good to check the volume by
going around it roughly as one mass.
Of course, check the symmetry as well.
Make sure these parts don't show too much curvature.
Checking the parts where the curvature changes is a good point.
Here, there will be differences
between where the bone is and where it isn't.
The feel of the curvature or firmness can vary slightly.
Check those parts like this.
Here, too, there are parts where
the volume changes along the genital area.
Check these parts.
As this data accumulates,
this will become a study of the human body.
Everyone generally feels the firmness of the bone here.
The volume shows out here.
Learn these data points one by one through practice.
Think about which parts of the leg should stand out.
The important point here
is not to draw the knee too small.
Think of the knee space as the area
between the thigh and calf muscles.
It's wider than you think.
It should be about this wide.
From this volume to the point where it comes out, it's up to here.
It's wider than you think.
So, consider those parts and capture the upper volume as one strand.
Capture it and move on.
Then the curvature will reach up to here, right?
The groin area also tilts slightly inward and then straightens out.
Consider the center of the kneecap where the knee wrinkles are.
Draw which direction it's facing as well.
Add the silhouette.
Next is the calf.
If you focus too much on this curvature,
the form might break at the ankle, right?
In the drawn part,
the ankle section should have
a slightly straight or extending feel.
Make it firm.
Add volume from the top.
It's good to sketch this part
with a slightly overlapping feel.
Next is the ankle.
It's similar to the calf.
It's good to draw the part where the central bone is.
Draw the shoe shape like this as well.
You might miss these small parts.
In reality, the heel's arch is at the center of the heel, right?
Think about these so they are drawn intuitively and unconsciously.
The same goes for the other side.
Check the knee space and center.
Draw the inner and outer lines.
Check the parts where changes occur.
The same goes for the ankle.
Add simple volumes as you draw.
Here's something to be cautious about when practicing with photos.
Many people consciously try to draw exactly like the photo.
First of all, it's hard to draw exactly the same.
It's fortunate if you can draw exactly the same.
But say you try to draw it the same.
You'll often end up capturing only about 60 percent of the vibe.
It's better to let go of the idea of drawing exactly like the photo.
Instead, think about drawing it more solidly than the photo.
The left knee of the actual person in the photo might be smaller.
There are many cases where it's not symmetrical.
Think about actual humans.
The eyes, nose, and ears can be different on average.
The length or volume of the limbs can also vary.
In reality, there are not as many symmetrical
and straightforward cases as you might think.
When you think about those things,
it's better to think about drawing it solidly
rather than exactly the same.
Continue using the methods to maintain
and enhance the form we've looked at before.
When moving to the arms,
start with a basic straight form and add a bit more.
Add subtly.
Especially in joint areas like the elbow.
The position of the bone should
be firmly and straightly angled like this.
That way, the form looks more pronounced.
You may be unsure where something is protruding here.
Between points one and two of this framework.
It's good to simply think about where it's protruding.
If the length is much shorter in that direction,
it's protruding a lot.
If it's ambiguous, think of it as protruding just a little.
Think of the hand as a panel by separating the fingers.
Draw it as one surface.
Notice these parts of the arm too.
They should be drawn considering the in-and-out to maintain the form.
Draw this circle and make sure not to invade it.
Other parts may have space
to protrude a bit due to muscle or flesh.
But at the joint position, this happens.
It's hard for muscles to attach like that at the joint.
Especially among the bones that represent the joints.
So it's even more important to maintain these aspects.
Draw it like this.
Let's add details to the face, like the hat or hair.
Establish the center of the brim here.
Consider the tilt as it transitions.
You can draw it with a bit more form.
When drawing hair,
consider the covered volume like this.
It shouldn't break like this.
There's the ear.
The space that goes in here.
You can slightly darken it.
If it's going to be covered later,
it's good to check these things in advance.
Next up are the positions of the eyes, nose, and mouth.
Just check them roughly.
At this point, you can say the form is somewhat maintained.
Now, let's add the final lines.
Lower the opacity.
Add a layer and zoom in a bit.
You don't actually need to look at a photo here.
You can draw it without looking.
Just follow these lines appropriately.
But what you need to consider while drawing is.
There's something we've looked at together.