1 – The use of "Regularity graphemes". Exercises to soften the hand.
2 – Simplified figure structure. Standard measures and proportions.
3 – The rod doll. Version for beginners and intermediates. The best tool.
4 – Concept and application of the line of action and the shoulder and hip line.
5 – Quick guide to establish proportions when performing different postures.
6 – How to achieve naturalness in attitude (Acting).
7 – The line of action and the relationship with the "rhythm" in the figure.
8 – Volume and point of view.
9 – The figure in motion.
10 – The use of the cross on the skull and torso to determine the pose.
11 – Summarizing concepts to clarify your ideas.

12 – Introduction to perspective. Concepts you need to know.
13 – How to achieve the sensation of depth in a drawing.
14 – How to set the rapid determination of the horizon and vanishing points.
15 – The concept of 3 dimensions and how to make the most of it.
16 – Linear or vanishing point perspective.
17 – Parallel or two vanishing point perspective.
18 – The line does not exist, it is an invention of the draftsman.
19 – The expressiveness of the line and how to achieve it easily.
20 – The graphic representation of the volume of an object or figure. A resource for understanding shapes.
21 – What is the "T" principle and how to apply it successfully (The biggest secret of the professionals!)
22 – How to use the "flour sack" technique to understand movement in three-dimensional shapes.
23 – First steps in drawing with structure.
24 – Combining shapes to create more complex structures.

25 – How to train successfully using the "flour sack".
26 – Bringing a character to life.
27 – How to create action and movement from the beginning.
28 – The "flour sack" with geometric figures.
29 – The importance of contour crossings. A very valuable resource.
30 – Adding structure to the wire doll.
31 – Occupying a correct place in space.
32 – The use of boxes to understand perspective.
33 – First steps in "Spontaneous planting".
34 – How to draw with succession of lines and absence of details.

35 – The drawing of heads and features (Introduction).
36 – Review of the basic construction of the head.
37 – The points you must take into account to be able to draw from memory.
38 – Let's deform the basic head to create cool characters.
39 – How you should practice drawing heads to achieve success.
40 – The construction of a face by placing the features in perspective.
41 – The construction of the head based on geometric figures.
42 – The 8 steps you need to know.

43 – Training with the "Spontaneous Tracing" (TE) technique.
44 – Variation of the "Support Lines".
45 – What is spontaneous tracing used for?
46 – The 3 steps that lead to the final drawing.

47 – Stylized anatomy, a style that catches.
48 – Learn structure, muscles and perspective in stylized anatomy.
49 – Bones and muscles and how they affect the surface of the body.
50 – Disney style.
51 – The art of simplifying bones and muscles.
52 – Movement and action in simplified drawing.
53 – Using the "LR Technique" to practice and learn this topic.
54 – Hanging figures on the horizon (The two essential rules).
55 – How to build the thorax and pelvis in 4 simple steps.
56 – Standing the figure in correct perspective (The key points).
57 – The simplification process explained step by step (the points to memorize).

58 – How to learn to draw hands well in different styles (Introduction)
59 – Learning basic geometric shapes.
60 – How to use the "coincident points" in the search for proportion.
61 – The crossing of contours in the fingers and palm.
62 – The 3 most important bumps you should know.
63 – The key points you will need to know.
64 – This is what you should do when sketching to make your drawings easier.
65 – Realistic hands and their stylized version. Discover the tips that make the difference.

66 – How to learn to draw the mouth well in different styles (Introduction).
67 – How the mouth is divided.
68 – Correctly locating the axes to start drawing.
69 – What differentiates one lip from the other? You should know this.
70 – The mouth of man and woman. The characteristics that differentiate them.
71 – The "Tracing with straight lines" (TR) technique to start practicing.
72 – The mouth in the comic style. How to simplify its forms.

73 – How to learn to draw the eyes well in different styles (Introduction).
74 – Achieving the expressiveness of the gaze.
75 – The physical composition of the eye and its correct location in the skull.
76 – The joint movement of the eyeballs.
77 – The eyelids and how they function over the eyeball.
78 – 10 infallible tips to apply when you need to draw the eyes.
79 – the reference guides that will help you when you start drawing.
80 – Drawing eyebrows correctly, here's what not to do.
81 – The drawing of the eye in the realistic and simplified style. The differences.

82 – How to draw the nose well in different styles (Introduction).
83 – Anatomy of a nose. The parts that matter.
84 – The differences to take into account between one nose and the other. The 6 questions you should ask yourself before drawing.
85 – How to easily start building a nose.
86 – Polishing shapes and style.
87 – The lights and shadows on the nose (What should you take into account?)
88 – The nose seen from different angles. How to draw it?
89 – Combining hard and soft shadow areas to create volume.
90 – The nose in the simplified style.

91 – How to draw the ear well in different styles (Introduction).
92 – Understanding its shape in order to be able to represent it correctly.
93 – Placing the ear in the correct position.
94 – The structure and naming of the parts of an ear.
95 – The proportions of the ear in relation to the other features.
96 – Starting to draw using schematic shapes.
97 – The ear seen in volume to understand its shape easily.
98 – Know the dominant lines to be able to build the ear from memory.
99 – The ear seen from other angles. This is how you should draw it.
100 – Reference points that will help us to draw it correctly.
101 – Types of ears according to different styles and genders.

102 – How to draw hair well in different styles (Introduction).
103 – Beginning to understand how hair behaves.
104 – Discover and learn the three main points you need to know.
105 – Starting to structure the hair. How to do it right.
106 – Hair volume. The main shapes you should look for.
107 – Start shaping the movement. The variants you can apply.
108 – The different views of a scalp.
109 – Must-do tips that will give freshness to your hair style.

110 – How to draw wrinkles and folds on fabrics well (introduction).
111 – Types of wrinkles: Dynamic and Inert.
112 – The linear or dynamic wrinkle: 7 examples you can use.
113 – The external sector and the internal sector to the wrinkles.
114 – Internal and external "stress points".
115 – What is "flow" in wrinkles and how to understand it.
116 – The law of gravity according to the different fabrics.
117 – Compression" wrinkles and "rotation" wrinkles.
118 – Main and secondary stress points.
119 – What is referred to as the upper and lower plane in the folds.
120 – Wrinkles or inert folds: What are they and how do they behave?
121 – Wrinkles and creases in loose fabrics (skirts and capes).
122 – How to interpret the folds in perspective.

123 – Dynamic Anatomy 1. Learn how to draw arms in different styles (Introduction).
124 – Measurements and proportions of the arm.
125 – The movements performed by an arm: Supination and Pronation.
126 – Summarizing the arm in 3 major ways.
127 – The bones that make up the arm.
128 – The elbow joint.
129 – Highlights on the surface of the arm.
130 – Arm muscles and their different views.
131 – Start structuring the arms with this basic shape.
132 – The arm in perspective. How to draw it easily.
133 – Learn how to simplify the arm.

134 – Dynamic anatomy 2. The interaction of the muscles of the neck, torso and arms.
135 – Upper half.
136 – How muscles interact in complex positions.
137 – Always thinking in three dimensions. How to achieve this?
138 – Drawing well the torso with volume. The essential guides.
139 – Drawing the transparent body, what is this for?
140 – The main muscles of the neck and how to learn them by heart.
141 – The synthesis of the torso skeleton.
142 – The torso seen from the front and back. How to learn it by heart.
143 – Basic structures to be able to build the torso in movement.
144 – A guideline outline to easily remember and draw the muscles.
145 – The visible surface. The synthesis.

146 – Dynamic anatomy 3. The pelvis and legs (Introduction).
147 – The functions of the pelvis.
148 – Pelvic bones in the female and male. Notable differences.
149 – The bones of the lower extremity. The thigh.
150 – The thigh muscles. The abductor group.
151 – Key points to memorize to build your figure.
152 – The knee and its composition. Everything you need to know.
153 – The tendons of the knee. Learn to recognize them.
154 – Leg muscles.
155 – The lower extremity seen in profile and from behind.
156 – The gluteal region. Composition.
157 – Structuring the sketch in the drawing of the legs.
158 – The step of defining the drawing. tips that you should take into account.

159 – Dynamic anatomy 4. How to draw the foot (Introduction).
160 – The foot. That permanent object of oblivion.
161 – Bone composition of the foot.
162 – Muscles of the foot.
163 – Let's start drawing it as it should be.
164 – Proportions and tips you should know to facilitate its construction.
165 – Footwear placed on the foot.

166 – The concept of "rhythm" applied to the figure.
167 – Examples that will serve as a guide for you to understand what rhythm is in art.
168 – Rhythm by "chromatic alternation."
169 – How to see the rhythm in your drawing by applying spontaneous tracing.
170 – How to recognize a drawing when it lacks rhythm.
171 – How we can define rhythm in the human figure.
172 – How to establish the relationships between the lines.

173 – Learn how to draw domestic animals (Introduction).
174 – Dogs and cats, human beings' best friends.
175 – The sketch. Understanding the shapes and lines of the animal kingdom.
176 – The dog in its different views. The profile view.
177 – Development of the five steps to draw the profile view.
178 – The dog: Sketch variants. Curve and polygonal.
179 – Proportions of the dog in profile view, References you should use.
180 – The dog seen in 3/4 profile and in 4 steps. The three blocks.
181 – The dog seen from the front. How to simplify the torso.
182 – A variant: The sitting dog. The different ways of doing it.
183 – The cat in its different views (Introduction).
184 – The cat seen in profile in 5 easy steps.
185 – The cat: Sketch variants. Curve and polygonal.
186 – Cat proportions in profile view.
187 – The cat seen in 3/4 profile.
188 – The cat seen from the front. Points to consider.
189 – A variant: The sitting cat. Characteristics that differentiate it from the dog.
190 – Cat's head seen in profile (the eye, neck and ears).
191 – Directions and planes. Searching and closing planes to generate volume.
192 – The cat: The coat and its texture.
193 – Cat's head seen from the front (structure, muzzle, ears and eyes).
194 – Cat's head seen in profile. Shapes and features.
195 – The head of the dog seen in profile. General structure and study of features.
196 – Establishing directions and plans.
197 – The dog: Study of the coat and texture.
198 – The head of the dog seen from the front (Structure and study of the features).
199 – Establishing directions and plans.
200 – Dog's head seen from 3/4 profile (Structure and study of features).
201 – Dogs and cats in motion. Addresses.
202 – Working with two aspects simultaneously.

203 – The secrets to turn your script into a comic book (Introduction).
204 – How to structure a script to create a comic book.
205 – The realization of the layout. A sketch of a comic page.
206 – Layout objectives.
207 – The details provided by a scriptwriter. Specification of shots and approaches.
208 – The study of planes and approaches and their specific use.
209 – The approach and how it is used in a comic book.
210 – Change of shots to create rhythm in the story.
211 – The interaction between the ideas of the scriptwriter and the cartoonist.
212 – The composition of the complete page.
213 – Reading guides and restraint arches. What they are and how they are used.
214 – The distribution of the bullets within the page.
215 – How to create dynamism in actions. Breaking regularity.
216 – The reading of a sequence of scenes.
217 – Artists who break stereotypes in storytelling.

218 – From portrait to character (Introduction).
219 – How to quickly grasp the resemblance.
220 – Portrait artists' strategies. Analysis of a face.
221 – Hair, jaw, forehead, nose and eyebrows. Factions. Internal markings.
222 – The general form. Artistic interpretation.
223 – Performing the analysis once again.
224 – Analyzing the individual proportions of each face.
225 – The hair, an ideal frame.
226 – An effective exercise to generate portraits.
227 – Synthesis and internalization.
228 – The iconicity scale. What it is and how to apply it.
229 – 4 steps to create a character.
230 – Let's study something about expressions.
231 – How to make your own casting.

226 – Storytelling / Part 1. Storytelling is an art (Introduction).
227 – Panel by panel. A succession of images.
228 – Indication of "suggested" shots and approaches.
229 – The pages. How to organize your script.
230 – Some problems that are very common.

BONUS: Learn to write your own adventures!

231 – Learn to draw wild animals: The big cats (Introduction)
232 – The big cats and their participation in comics.
233 – The head of the big cats: General aspects.
234 – The front view in 5 essential steps.
235 – The profile view: Using observation strategies.
236 – The bodies of felines: General aspects.
237 – The 4 steps for its correct construction.
238 – Addressing dominant lines.
239 – How to quickly establish proportions.
240 – How to draw Lion's mane.
241 – Aspects you should highlight when drawing the big cats...
242 – How to draw the typical Lion walk.
243 – The tiger: Specific characteristics.
244 – The tiger and the front and profile view.
245 – The tiger in action: Jumping.
246 – The Cheetah: Specific characteristics.
247 – Drawing the Cheetah front and profile: Differences.
248 – The Cheetah in action: Running.
249 – The puma: Specific characteristics.
250 – The puma seen from the front and profile.
251 – The leopard, the black panther and the jaguar: Similarities and differences.