Round will always draw us into a picture or a room. First one is round the round. So you go round and round. And we're going to talk about a little thing called symmetry. And that's how you keep things balanced. So 12 o'clock, six o'clock, three o'clock, nine o'clock, and then fill it in all the way around.

Great little exercise. And now we can continue our little design by adding smaller ones in each interval. And now we really are drawing we're just not drawing something we're drawing, I think, such as a design. Now we can fill in each one of these little places. You see Where the round, each one fills in with a little smaller one. Now notice we've introduced I'm slowing it down, finger dry.

Most of us are fairly good at finger drawing, because it's controlled and it comes from printing and writing. So our finger drawing is very developed. And we're quite good at it. That's why we draw small to draw big. You can't use a finger because you run out of finger See, there's your range four finger drawing. But to get all the way around to complete our design, we have to use our whole alarm.

So now back to here. Now you can stop the film at any time and catch up. So today we're really focusing on round. You can't Do all of them in one class. Notice I'm talking, I'm actually going to close my eyes and feel around. I don't care if I go out of the paper.

I'm just feeling around and listening to switch to it. Now I'm still I still have my eyes closed. What I'm doing is I'm working. I took a little peek there. I'm working this motor memory into my brain. Now I'm going the other way.

And so many rounds. You've got it 10,000 times, repetition. is our mission searching line is when we use these little drawing shapes to get all our shapes. The searching line is okay. If you're drawing specific things, and you want ultimate control, but you don't have any line quality, the lines are merely a means to an end and then we go over them with stronger lines. Now, who did these kind of lines?

Well, some artists like Raphael Leonardo so there's my little drawing I've gone over it I might even if I'm doing some graphic designs Now I put it on my software program with my waken board or paint net or my Photoshop, and I straighten everything and shift it and I end up with a perfectly drawn three dimensional shape, but no quality two lines. So if we're drawing with feeling, you'll see there's a difference. We don't use the searching lines. We get strong drawings. And then we can reaffirm, where are drawings going from. So if you need ultimate control, and you're satisfied with this kind of drawing, you can't join the Picasso club.

Because that's not the way that he drew. He drew using these lines Now whether he actually knew about these or not, I've watched him draw, and he uses all of these lines. As a matter of fact, all great artists have used these lines for centuries. So here we go, we did run around. Now here's the next one. This is the, what I call the up and down, back and forth exercise.

Now there's different ways to work it. Just working your muscles this way back and forth on an angle this way, and let's get this one going. And here it is. Pull down, pull down, pull down, pull down, pull down, pull down, pull down. Push across, push across, push across, left to right, right to left, whenever you angle you're on and then this way, so one on this side, one on that side. So you can go right down like this.

Lifting the pencil at the end. Next one. So to recap, pull down, pull down, push across, pull across. Next is push up, push up is a little more of a challenge until you think of karate, or tofu. Tofu is how a vegetarian defends themselves. So the tofu stroke going this way.

So, last one is on the last couple are on an angle this way, you basically think of every direction that you can draw a line. Notice I have not moved my paper. Not once did I move my paper. So, down, up, across, back, down, up, across, back, down and make up these little games. That's called the flick stroke flick, flick across across on an angle on an angle on an angle on an angle on an angle on an angle. I'm going to do it one slow motion, holding the pencil, air down pole.

It's like a tennis stroke. You need to follow through. That's up and down, back and forth and round and round.