How to Draw the Figure | Reilly Method Exercises

as you can see the scar is uh healing nicely so it should be uh unnoticeable maybe after a few months so thanks for all the uh well wishes and stuff it was just a minor little little cut welcome to the riley rhythms of the figure and tried my best to uh show you guys how this works and um made a couple of mistakes but well you'll see but anyway uh the first pose uh this one here we're just doing this straight on and then we're going to move on to the next one which is a more dynamic twisting kind of a pose and then finally kind of a straight arm with one leg tucked in behind the other so these are all three of these are just straight on poses and which shows like a good it's a good example of how to use the uh the writing the writhing method for the figure drawing and i'm using a smooth newsprint again this is pro art and the pencil i'm using is the container paris 1710b sharpened to a nice nice fine tip and then of course the kneaded eraser so thanks again for watching uh if you guys have any questions after the video uh leave a comment and i'll get back to you thanks for watching and thank you starting off with this very very basic pose standing directly in front of us the hands by the by our side and just your basic basic standing pose not dynamic at all but it's a good good start for this description of the riley rhythms for the for the figure so if we had our head here and then we're going to pull down this rhythm for the uh the neck muscles the sternocleidomastoid and down to the pit of the neck and then we'll do a wrapping kind of like a c curve shape for the clavicle a little bit top of the shoulder and right about here you'll have that chromium process that's that little bump of a bone right before you have the ball of the shoulder that's where your clavicle and your chromium meat and there's a little joint right there so we use that as a reference point for this for this method let me move this over just a little bit try to get them lined up and also you don't always have to measure how many heads the the person is it depends on what you like but for this one i'm just gonna make it seven heads and then i'm gonna divide that in half and find the crotch which will be at three and a half so if i come down here it's going to run off the page probably off the camera barely huh so we're looking at one two three four five six seven so one two three and then half our crotchet b bet right there so we can just take these out so to run a straight line from the pit of the neck all the way down to the crotch and now we'll take the reference points from the chromium process and we'll draw another reference line and drawn it way darker just so it shows up on camera i usually don't draw this these rhythm lines that dark at all let's go ahead and pull the line down for the legs and now from the side of the neck we're going to pull a rhythm from the side of the neck to the hips and it just depends on what what method you're using like there's different riley uh methods out there it's hard to tell which is the original um i've seen this one where they pull from the neck to the crotch line hip right here and also see the one where they come up a little bit higher and they'll pull that rhythm to this point here so it really depends on i guess what you like i kind of prefer this one the top line but it really doesn't matter too much because they both work really well so i'll just stick with the the one that goes to the crotch and we'll use this line here to find the hip bone this is the great trochanter area so then from that point you can pull the line all the way down to the foot just have it come down to a point and run it past that line that you wanted it doesn't really matter because we can put the feet on top of that and be all good so up here i'm going to start the rib cage on the upper upper body the chest cavity just a very simple oval shape and a rhythm for the inside cavity you can even put the back rhythm if you want to kind of show that depth but generally you just do the front one and then for the arms you have that the ball of the uh the shoulder and her arm comes down her hands about right there that's just a very basic rhythm using the riley abstraction for the figure and for the feet you can even you can take it further if you want maybe i'll just go ahead and do that but um let me talk about the hip actually so the hip there's actually the hip bone is i like to kind of think of it as like a heart shape so it's very simplistic but it works for me and i've seen this before and i really like it there's different versions or different ways to use this but right here you have a point that shows up on the body like the reference you can see the hip bones like let's say she comes down here and it catches that little bump in the on the hip bone and then we'll come down here and we'll catch that great trichanter and let's cut the legs in half for the kneecap and so right here i have the tensor fasciae latae that kind of connects to i think it's the gerties tubercle which is basically uh on the tibia next to the tibial tuberosity or whatever it's called so that comes down here so you can kind of see this the shape developing understanding that you got this point right here with the uh the great trochanter where the hip bone comes in if we can connect that to the knee like so so these two points are really interesting and really help you and if you'll see this hip bone curve around like this and there's another the iliac crest right here this will be another point that you'll see on the body and from there you'll get the sartorius which comes down here on the other side of that knee and wraps like this and this muscle kind of sits on top of all the other muscles in the leg like the abductors the gracilis the vastus and the so those you'll see this furrow and then in pictures especially like bodybuilders and stuff like that so basically these three points right here kind of create like a triangle and you'll see those points in your your model and that'll help you get that that shape of the body so just to just go back over what we did we did the start of the head we came down to the pit of the neck with the sternocleidomastoid rhythms then we did the sweep the c-shape for the clavicle and we came over to the top and we found the chromium process which is right here and then we measured the heads and we decided to do seven heads divide that in half to three and a half heads to find the crotch so half the body it's a good reference point it's not always like that it depends on your person the model that you're doing it's just like with the head abstractions it really depends but for just a basic exercise i like to divide it in half at the crotch so from there we take the straight line down the middle and then from the chromium process i take the two side rhythms and then from the sides of the neck to the hips all the way down to the great tricanter which is right at the crotch line right here and then we did the ball of the shoulders and then the sweeps of the arms sweeps of the legs and then i was just talking about uh the heart shape of the pelvis and the three points that will show up on the like the great trichanter the hip bone right here and the iliac crest comes in here and you have these muscle attachments right here like the sartorius and uh and i just did basic structure of that femur and yeah so that's a basic riley plus a little extra which is kind of helpful those three points to know especially when you're trying to map in a basic shape but this is a very non-dynamic drawing or pose i should say so let's go ahead well actually let's do the uh let's finish off with the um the rhythms for the the breast here which i almost forgot and the variety rhythm is to take it from the pit and the neck and wrap around and create like the circle rhythm and do the same for the other side you can bring those two together by another wrapping rhythm from the top side so let's go ahead and go on to like a more dynamic pose and we'll see how these these these rhythms here the center line and the from the chromium process and from the outside of the neck those those rhythms really help to find like the dynamic pose and stuff so let's go ahead and do that next we're going to do a much more dynamic pose still standing uh mostly facing forward uh so let's start with the head a little circle and the jawline she's like in a three-quarter pose so that's close enough maybe a little ear which we can't see because our hair is in the way but not getting into the portrait on this even though i really want to automatically so we have the head and then the next thing is that sternocleidomastoid rhythm the main the big neck muscle and the other side wraps around here so we have the pit of the neck and then from this point we can just go ahead and put in our c curve for the clavicle and because she's turning this way the perspective will see much more of this side of the body than this side so we have that that perspective change and i'm gonna go ahead and measure out again the seven heads and then divide that in half to find the crotch and it may not be what she is she might be eight she might be six and a half but just for this drawing i'm just gonna make it seven so i'm just gonna come down and just using my pencil in my finger just make those measurements and see i think one two three four five six seven so we'll put her somewhere down here her feet so we'll find the crotch by going three and a half so one two three and then [Music] we've got the half so i usually do this without making marks i just use my pencil or just eyeball it and now i'm going to use i'm going to try to find the crotch if it's over this side or this side in relationship to the center of the face so holding my pencil up and it looks like it's slightly over i'm going to exaggerate it just a little bit and make it right there so that's the crotch and we'll use that center line and see her her upper body her shoulders are back and it's creating this really nice c curve something like that i have to make a little bit more dark so you can see it on the camera and then from those acromion process that we found we can pull that line and you can already see it's giving an indication of what the body is doing already that's why i really like this method and then at this point we can actually take this line here and just bring all the way through to the bottom of her feet and it looks like the back side of her heel i'm taking my pencil holding a plumb line and trying to find where the back of her heel on that weight-bearing leg is a position in comparison to let's say her shoulders let's go ahead and put the shoulders in so it looks like it's just on the outside of her shoulder so her weight-bearing leg the heel falls right about there so we can take this rhythm bring it all the way through and down so now we have these three so now we're going to use we're going to use the side of the neck to find the hips and before i do that i'm going to find the angle of the hips i'm looking at the crotch and it looks like it might be about this angle i'm just going to check that and that's about right so let's go ahead and put that angle line in very soft if you look at the shoulders they also have that similar tilt the opposite way though actually it's a little bit more shallow i think i have to bring this shoulder down a bit no it's pretty straight across actually so sometimes it helps to find like these angles and how that it's almost like the when you're drawing the head you're trying to find the head tilt using the cross of the face well finding out where the shoulders are angled and the hips wrangled helps a lot too so having that information now we can pull this line for the hips the hip rhythm from outside of the neck all the way down to this crotch line and i'll do the same thing for the other side starting on the neck and it looks like it might be about right there and again when you draw these at home uh make these lines super soft as soft as you can because you'll change them quite a bit they're only to be used as a reference and you'll build up a structure around it let's see so now i'm going to pull all the way down this back side of the leg just go to a point we can put the feet on later and then this leg let's measure where the outside of the heel is on the other foot and find that distance this helps me a lot because oftentimes like if her leg is this far apart i'll i'll bring it into too close and i'll stiffen up the pose so that's the thing that happens to me a lot so what i like to do is just measure that and it looks like it's about this distance it's always good to exaggerate just a little bit anyway in a figure because this the uh the drawing gets it just stiffens up more so if you exaggerate it at the beginning you'll have a more dynamic drawing something like that it doesn't look quite right to me so i think i'm going to take this line out let's see i think what would help is if i brought this line in i had it too thick and then bring this one over that's why it's good make these really light so i think that's that's a lot better so now we have the shoulders we have the hips the angle of the hips i'm going to do the um the crotch angle here's the upper the hips um remember we had the great uh trochanter here we had that heart shape hip bone and then the iliac crest those three points that's right there let's go ahead and at this point we go ahead and put in the um the chest cavity the rib cage the upper body and it's at an angle because she's arching shoulders are pulled back and now it's getting a little confusing looking with all the lines but there's a rhythm here for the actual rib cage and now we can put in the arms it looks like very basic shape and her hand is about right here and on this side her arm is behind the body it comes out something like this so that's our let's go ahead and put the feed in actually post up here so feet are pain in the ass a lot of times um it just take a lot of practice to try to like understand the structure of them and stuff but i won't go into it too much here i just want to get like a like a basic shape the back heel comes over and wraps and she's wearing a high heel so there's arch in her foot and both her feet are pretty much lined up in this one let's clean that up i definitely can use some practice on feet so her heel is probably like here something like that all right let's go back up to so this right here what we have is the basic variety right we have the uh the rhythm for the major muscles of the neck the sternocleidomastoid found the pit of the neck center line a chromium process right here and right here those two lines come in and then we have from the outside of the neck on each side to find the outside of the hips then we put the leg rhythms in we have the angles of the hips angles of the shoulders and that pretty much gives you the overall pose the overall feel of the the pose and then from here you can just keep oh yeah i almost forgot the rhythm of the breast again so let's find the angle pretty much like that so from the pit of the neck you come down wrap around to the other side try to find keep them on the same on the same rhythm and then you can do a sweeping for the top kind of show that connection to the body here sweep sweep something like that and then you can come in and start working on the contour adding in the different muscles sweep over that the hip bone right there that comes down we have the gluteus maximus on the back side you can kind of see a little bit it's like tucked behind her hand if we take half the leg and find the kneecap then we can find our insertion of that iliotibial band it connects right there and then we have that sweep of the iliac crest we know the sartorius attaches right there and right here on the knee and you can't see it in this picture but the structure is like so wraps around looks like her vast is kind of you can see that even in her uh let me call it tights it actually shows up it's pretty pretty strong she must do a lot of squats and calf muscle just go over the interesting aspects of like the knee um and the ankle is let's see how do i describe this so it's like see this you have two vastus ones uh lateral medial and you have this shape this angle because the lateral vastus muscle sits a little bit lower than the medial and that gives you that angle and the angle also shows up in the calf muscle so as this comes down the calf peaks here and the other side of the leg the muscle peaks at the top so it gives you that these two angles and for the ankle it's actually the opposite it goes this way let's just do it backwards i think i did it backwards yo that's funny because yeah i did so never mind what i just said i'm gonna edit that out it goes the other way is that right isn't it right is it it is oh my god how embarrassing uh so yeah so that's over let's redo this uh it's so embarrassing so what was i trying to say is the medial vastus sits lower than the uh the lateral now you're like this guy doesn't know what the he's talking about and then the calf muscle on this side sits higher yeah that actually looks better geez so there you go and then the ankle the reason why i caught my mistake was because i know that the uh damn it i'm trying to do it again because i know that the uh the uh the fibia sits lower than the tibia and the the phibia is on it's this section right here this this bone and then you have like the bigger tibia over here right so so that the amphibia sits lower then the tibia so if i was to actually draw these bones the fibula actually means it's like a latin word or i think it's latin but actually means uh needle or broach because it's like this really thin bone and it comes down and then the [Music] tibia this is another funny word it actually means flute so anyway i don't know i'm talking about that but back to these angles gonna really make those dark so knee goes in ankle goes up and then down up oh that sucks anyway so now you can from that you can tell i'm a student i'm not really happy with this center line but let me move it over just a little bit i want it to line up nice right there okay and the hip bones on this side so we have the chest cavity coming down and then the eliac crest on this side that sartorius would if you could see it will come right here and then that iliotibial band and then dare i do this again with the angles let's see and then the calf muscle here and then on the far side a little kneecap that was a disaster that's funny yeah so learning those angles helps a lot and uh and when you're doing a demonstration of them it helps not to mess it up but you know it happens whatever oh god it's funny i just want to put a little eye socket right here maybe a little nose okay so that's a more dynamic pose um you can see how it's like stiffer than the actual uh photo i did and i think that might be because the rhythm line for the hip like i should have really arched it way more and pushed her onto that weight-bearing leg much more i can kind of probably fix that a little bit if i brought the upper body the chest cavity and made it a little bit smaller and then maybe make her butt a little bit bigger and that might help look like weight is more boom on that side a little bit a little bit more dynamic it's interesting how you can just change certain things like if you make the upper body smaller then the hips will be much wider so man the figure is really hard it's uh i used to think the portrait was hard but i feel like the figure is really difficult the thing is though like if you can't draw a portrait if you can't draw the face you can draw like a really beautiful figure but if the face on the figure is is not good then the figure's not gonna it's not gonna be good either it's kind of depends upon a good portrait but then again if you have a good face and the body looks kind of funny that's not good either so they kind of depend on each other i suppose let me just kind of try to clean these lines up a little bit let's get our little thumb all right so i hope i didn't confuse you too much on that mistake with the angles of the knee and the um and the ankle so just to talk about um that is so you have two bones you have the tibia and then you have the fibula the phabia is really small and it sits on the lateral side which is the outside of the body and it sits lower than that big bone the tibia on this side so that's why it creates that angle and for this angle we're talking about the calf muscles which this side peaks higher than this side and for the top of the knee we got the two vastus the lateral and then the medial and the lateral sits higher than the medial so there you go okay actually i want to fix a couple of things on this one real quick so i have this rhythm here for the the chromium process rhythm and then to the hip bone she's actually got more muscle mass there and here so made that that leg a little too too thin compared to the other one so i just wanted to fix that real quick because i can't let stuff go apparently let's see iliac crest right there so make sure i have that okay all right next one okay so i just sneezed and now i have like a really stuffy nose okay so this one much more dynamic pose her weight is on one leg mostly and she's kind of twisting her spine so let's go ahead and start with the head just put a little circle and then do our head tilt and we'll just put like a little indication of the face and then look for the uh the two main muscles in the neck that wrap around to the front the sternocleidomastoids and i'll find from there you can find the pit of the neck and then we'll do the c shape the sweep for the clavicle and her arms are up over our head so you can't see the acromion process but we know it's over here somewhere and then using the pencil taking a plumb line or a vertical line we find that the crotch is somewhere along this line i'll go ahead and measure out uh the seven heads and she might not be seven heads she might be seven and a half or eight or something but i'm gonna make it seven and then i'll divide that in half to find the location of the crash so we have one two three four five six seven and we're pretty close it looks like so you can take out those and normally you can just do this without having to make marks on the paper and just use your fingers but i just wanted to show you a basic concept and so from here we'll just take the her center line from the pit of the neck to the crotch and make a rhythm line here and then this side here and from this side to the crotch and she's looking straight at us still she's not twisting too much so it's a pretty much straight on shot and from the sides of the neck we're going to find the hip rhythm looks like her hips come out pretty far let's go ahead and take this down to the to the ground so that's the weight bearing leg and actually let's move that line over i have it tucked under here too much so i'm going to move it over to here i'll just check the base of the foot and see where it lines up yeah that looks better and this one comes over and now there's more it looks like there's more weight sitting on that leg and this side we're going to find the other side of the neck we're going to find those hips and if we did like an angle we could find the tilt of the hips and that's about right actually your shoulders she actually has a bit of a tilt there too and let's go ahead and take this leg down to the ground let's find the base somewhere pretty far out and let's go ahead and place the shoulders and just do uh indication with the little sphere and we can just basic sketch in for the arms i'm looking for her elbow to elbow kind of sweep over to kind of line those up pretty well uh it looks like it's touching her head i'm trying to keep it light as possible and let's do the chest cavity the the rib cage rhythm and she's at an angle kind of okay that's good now we're placing the hips uh so if we come down here off the rib cage so these lines these these are guidelines and i normally don't put them in that dark at all super light but i'm trying to make it show up on the camera better uh so the idea is to use these as guides but not as so much as like the final drawing you just want to get into the ballpark and at certain point you'll have to abandon those lines and especially when you're drawing in the anatomy and such especially down here in the hips because here the guideline finds the outside maybe like the counter area but you still have the hip bones to contend with so at this point i'm going to have to abandon those guidelines i use them for what they were good for which is the overall rhythm or set our placement of the human body but at this point we're just going to go ahead and leave them and explore on our own so to speak so here's the top of the hip bone come to the other side let's see the ribcage comes down it's a little bump for the rib cage if we draw through like this sweep here and put a little dot we can indicate that placement the attachment of the sartorius and we come down here and find the knees and then we know the sartorius which we won't see too much on this picture except for maybe in the contour of the body like down right here and then you have her abductor muscles right here and this is the the iliotibial band that attaches pretty on the other side from the sartorius and for the calf muscle we have this angle like such and also in the relationship to the vastus lateralis and medialis medial sits a little bit lower than the lateral vastus and then we have our knee and then this side of the calf muscle sits high and this side goes a little bit lower and then for the foot and the ankle the malleolus of the uh the tibia and the fibia the fibula sits lower then our tibia so it creates this angle here so you have these two opposing angles and then we have our basic foot let's go back up and let's do the rhythm for the uh the breast and let's try to get on the same shoulder angle and in the riley method he does from the pit of the neck wraps around and then to the other side as well something like that i see now the rhythms where they wrap the top it really just depends on what you prefer let me just put some indication of muscle rhythms here in the arm so and that shoulder blade on the back you can see it a little bit and our sartorius attachment down to the knee really i really like that rhythm it just helps me to find the knee placement and just get everything locked in together in a nice way oftentimes you'll see people draw the knee kind of like a blue box and that's pretty helpful especially when the knee is in a bent position so we do that angle here as well and then this foot can't really see her ankles too well because she's wearing shoes but i'll just place them in anyway so i can exaggerate the hips too i can make them a little bit more prominent i can put more midi or more glute on the back or just catches right here and then into that tensor fasciae latae oh however he posed to pronounce that word let's see so yeah this is just the basic the process for uh using the riley method for uh figures and uh let's see i'm trying to find that center line because the center line is a little different like if i'm doing the contour line of the body it's in this pose it's a lot different than that rhythm line that we originally put in because that kind of used the rhythm line to draw through the form and then if you want to do the contouring that's that's what's sitting on top of the the figure on top of the surface so it'll be different so yeah so that's um that's a pretty good quick little study let me try to do like a little eye socket indication of the mouth so anyway so yeah i like to do um little studies like this uh spend maybe 10 15 minutes on them i usually do them a little bit smaller and just throughout over the entire page maybe it takes like maybe an hour hour and a half just to get the page filled up and it's a really good way to practice drawing the figure and working with the writing rhythms okay let's start off with the basic head shape i'm just going to do like a kind of like a blocky like a blocky shape to start with sometimes it's fun just to do like a simple block shape instead of the normal circle and then i'm going to pull down these sternocleidomastoid rhythms into the pit of the neck and then it looks like the crotch might be about right there i'm going to go ahead and measure these seven heads out so that's two that's three that's four five six and seven and i'll just put a little bit extra i'll probably make her legs a little bit longer uh let's see so her crotch is pretty much right below her chin so one two three let me measure i think it might i think she might be at three one two three i mean a four so this is one two three four i'm going to bring it up just a little bit and then i can go ahead and erase these so i'm going to pull this rhythm line and her belly button probably sits right about there then we'll come over here and do a rhythm for the uh clavicle and i also want to get the rhythm for the top of the shoulders and then the chromium process would be about right there and then we can pull this rhythm back down to the crotch from the from the chromium process and then from this point we can just go all the way back down to her foot which is right on the center line i'm going to put a little curve on it and then now we can find the angle of the hips you can see really well on this pitcher the iliac crest over hip bone of the pelvis bone and looks like they sit just below the belly button and i feel like it's probably about that angle and looking at where the hips might be on this side and probably somewhere on this side so let's take the rhythm from the outside of the neck down to the hips and this is just to get us in the ballpark right so at some point we're going to let go of these rhythm lines and look at the anatomy and and just make our adjustments so this this leg comes in and disappears behind the other one so now we got like a basic very basic shape of the pose i can go ahead and put in the uh the rib cage looks like the rib cage in relationship to the the belly button is about right here and comes up something like that so we have a nice upper body structure that little too dark try to keep these lines light but i'm also trying to make them dark enough that you can see them on the camera it's going to put in the shoulder indication with just like a little circle we can put in our rhythm lines for the breast using that riley method of coming from the pit of the neck down and wrapping around and sweeping to the other side and then now i'm just going to kind of go in well let's look at the hip bone so this is the uh iliac crest and probably comes out like so something like this right and then you also have the great tricanter the femur somewhere over here so as we come down on this contour it's going to be nice and smooth and then it's going to bump over that hip bone and div it a little bit and then it's going to wrap around that bone then catch the knee and the calf and it tucks under behind the other leg so you take this rhythm out i saw an ad today on when i was looking for an image to draw and they were talking about this this i forgot what they called it but like this section right here where divot's in or between the the hip bone the iliac crest hip bone and that great tricanter it was like an ad to help so i don't know what the product was or exercise program but it was like get rid of this and i was like i don't know they were trying to make it like sound like it was like something bad and i was just like dude that's like your freaking anatomy like why are you trying to get rid of it it looks cool so i don't know i just thought that was weird like this this they try to sell us right they try to make us feel insecure and then sell us a product that's supposedly supposed to fix their supposed problem that they created it's like this fake problem it's just irritating so anyway a little rant i don't know why i did that but let's come back up to let's do this armpit as it goes into the the chest cavity and then can't see it because she's got flowers right there but there's probably you'll probably see a little bit of the uh the lat and then we'll come down on the ribs here and then come down and catch that hip bone and then come down this is going to sweep really nicely right here see we got the knees in this area so we can show that vastus lateralis right here and then i'm gonna try to get like a nice sweep and then i think this this is attached to that sartorius just for that nice rhythm so you can see what we're doing and that calf muscle down to the malleolus so we have this rhythm this or this angle on the knee and then of course this one here and this time i didn't mess it up so that's good i'm gonna fix this this right here i'm gonna exaggerate it [Music] so that leg behind her is tucking in i kind of i don't know let's go ahead and just do some mapping with the shadows this shows some of the anatomy a little cast shadow right here maybe right here that that medial side of the vastus or kneecap down to the tibial tuberosity and you can kind of see the femoris not for mars i'm going to say the phibia right here a little bump that's kind of cool let's put the big toe in bam let's come back up here to the upper body let's put in the shoulders so the we got the deltoids when it comes down our elbow looks like it's right about the ribcage that flares out and then her hand comes down to about right here so that's pretty much it on just a basic lay-in on the figure using the riley method a really good exercise i like to do these like fill up a page of different um figures different poses and such and uh let's see rhythms some muscle rhythms and a deltoid here go ahead and do like a little extra on my head here so yeah so try these um for like a practice and see how it works and i hope i explained this okay kind of ran into some hiccups earlier on some of the concepts of the the angles of the knee and that was really embarrassing but i think i'll just leave it in because it's kind of funny but uh yeah if you have any uh questions uh don't hesitate and uh leave a comment and i'll try to get back to you as soon as i can i'm pretty busy with work right now it got us working overtime but i'll do my best and i really appreciate you guys watching and happy drawing i'll see you later bye [Music] you

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Views: 184,148

Rating: 4.9563456 out of 5

Keywords: how to draw the figure, figure drawing, reilly method, reilly abstration, drawing exercises, bradwynn jones, bradwynn, watts atelier, proko, conte a paris, tombow, smooth newsprint, patreon

Id: Xr9jkWio9L8

Length: 63min 36sec (3816 seconds)

Published: Thu Oct 08 2020