- Lesson Details
In week eight, you will continue to learn from instructor Heather Lenefsky how to create 3-value compositional thumbnails for your still life drawing. You will use everything you have learned about light, shadow, and form to develop and refine your artwork.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
Transcription not available.
something a little more complex.
So it's going to be.
Just as important or even more important to think simply.
And for that reason, let's stick to doing thumbnails with these markers that are
going to rule out a lot of spectrum of value for us and limit us to the same
two values plus the light of the paper.
So we'll have three value thumbnails, and now we're looking at a still life.
That's got several different elements.
We've got a skull.
We've got a vase, a book, some fruit, you know, pretty much
everything you need for a picnic.
So I think I like starting again, being kind of literal and then branching
out from there just to get going.
Let's think about this.
So I'm just going to note maybe the, maybe the flow of this
thing is kind of like this.
Let's make the highest point here, so it doesn't get too close and all right.
Something like that.
So being simple about it, I'm going to use this mid value to kind of
note where some things might be.
Maybe we even want that lower, maybe like more like that.
That's going to compress everything a lot huh?
Well, let's do it.
Let's do one and see what happens.
So just to make a simple shape, something kind of flower organic-y.
got some overlap to note.
I kind of like that light, that little like tiny light reflecting at the end.
Cause it sorta keeps that from just sliding off the page.
So we'll, we'll just kind of note that there might be something
light we can throw in there.
And then we've also got that drapery.
Just keep it simple, thinking straights or curves.
Try not to make any shape that's more complicated than
a straight or curve all right.
We got some kinda snacks.
Always like snacks with my skulls.
So I'm like that little maxilla situation.
So I'm squinting for a second because this thing is complicated.
Let's, let's knock some big things out right away just to kind of
keep from losing ourselves in this.
So it's kind of that literal first attempt,
and we may leave a little of that going back out.
And let's just make this dark here.
What's going on behind that base.
It's sorta, we could almost call that like a gradient,
like that strong shape here.
You guys, this is complicated.
This is a lot of choices to make.
So glad we warmed up with hammers.
And what did, what did we just draw with?
Simple, still life.
So squinting down.
I'm going to see this as just a middle value right now.
I see that skull is pretty light and dark.
Maybe it's resting on a mid value there.
Maybe this book is the other mid value and I kind of like, maybe
that foreground to be the mid value.
So again, using the side of this, this fat side of the pen, just to try.
To make fewer more simple choices,
not the time to render a skull.
This is really, this is good.
This is good.
A discipline practice here.
That apple, we got kind of that dark shape here.
And there's sort of just this like sliver
got this, what's this some kind of fancy shot glass this guy's got.
Seeing, just seeing simply
Starting to get kind of that light and dark.
I think we said we're just going to squint and see that blue and white pattern as
sort of a middle value, kind of want to see this book just as a middle.
Maybe this little light reflected there as middle let's darken that up.
And kind of running out of room off the bottom here.
Let's go ahead and leave a little of this light.
It got a little carried away with that dark, so probably will leave more light
than I actually did, but most of this is going to be sort of a mid value.
Let's carry out this shadow here,
kind of just like that.
So obviously this is a lot of elements.
And maybe we want to pick a statement.
So look at it for a second.
See what strikes you.
It's hard not to go right for the skull.
Anything that looks humanoid usually gets our attention.
What I'm is, if we try one where we zoom, we zoom in on the skull.
I might try this.
I might even go more simple and just see the skull is kinda like a sphere.
Sort of an oblong sphere.
So if we have, Hmm, we can try one with that going off the top.
Let's try it like this.
No, let's, let's leave it in there.
Base, skull, apple and the book will slide off the side.
We'll check that out.
So just kind of that simple shape.
And let's just group that all into dark for now.
Overlapping the base.
With a cool kind of organic leaf shape.
And then maybe this guy kind of goes off the page, let's find out.
is it going to take our eye off so we just, we gotta make sure
we bring it back in somehow.
You know, what's kinda cool is this, this cup vasy kinda fancy shot glass thing.
This guy maybe, maybe this can be like a vertical that stops us
from sliding right off the side.
And it's also on that white ground.
Let's see if we want to keep that in.
Yeah, we can leave this apple wedge and it's overlapping another apple.
Which is overlapping our skull.
I do like the dramatic dark here.
I love how we kind of lose this and then find it again and
where the light hits the inside.
I'm gonna start filling that in just to get some kind of read.
Kind of, so I can see what's happening.
Hmm, maybe we could do this down into that and then it could save us
kind of stop us, bring us back in.
Let's try it.
So now we're starting to hit the back plane of that skull
and down that some temporal area.
See, I'm already starting to see too much.
Squinting let's just make the sunglasses.
Just group that together for now and all right, let's take that all the way to the
edge of the apple, apple coming around.
We've got that little bit, top plane of the book it's resting
on, and that actually is going to go into this thing which
I moved to try to stop our eye so now it's higher.
But I want, I want this to come below it.
I think it's going to get longer.
Let's try it.
I don't really like that that's coming right into that.
Let's just take it off.
Okay, so I'm playing, I'm playing with how to redesign this.
I didn't really like how this dark shape that was.
The background hitting the top of the book was kind of coming into a V here.
So I'm going to try and push it down a little bit into that champagne
flute, and maybe we can even have a little light kind of breaking that up.
And then maybe just a little bit, a little further down, a little
lower, pushing more overlap.
I'm hoping that this overlapping this book shape is going to stop
our eye from sliding off the page.
So looking to make that food a little more prominent, a little
bigger vertical element, allegedly, and let's pick the dark shape back
up around the side of that muzzle.
And let's carry that to the flute.
Yeah, let's carry that shadow from the end of the book to the flute.
And we do want some light element coming back in here.
This is where our drapery might save us taking out that corner.
And we'll take the shape up here.
Or the drapery kind of enters the scene.
Maybe we can kill this with the book here with a mid value.
And then the light of the drapery might bring us back.
And the champagne flute looks pretty dark to me.
Let's let's at least block it mid for now.
Then we've got the mid of the champagne flew over the light of the drapery.
Let's go back to that.
Apple here, they squint.
That's pretty dark.
And I want to finish the dark pattern, which is the shadow
of the vase overlapping or overlapped by the apple shape.
See what happens when we filled that in with dark?
Gonna continue filling in this plane with dark that is the side
of the skull up to this apple.
So looking just for a light and dark pattern, if I'm into this skull, I
think I want to take the mid value to the vase again, push it back.
So that's cooler.
It kind of pops again, an opportunity to push a light against a dark.
So let's look at the foreground.
We've got a light drapery thing coming in.
We're going to have lights from these apples.
Let's make this mid value.
So the foreground here with the value treatment, and then stop and
look, this line here is distracting.
I'm going to take it out.
That's a top plane of the book and I didn't finish describing
the side of the muzzle.
So there's one option.
I like that this is strong.
I like that it seems to keep our eye in here.
We want to watch that we don't have just a bunch of cookies, like floating on a page.
We might want to consider linking those a little better.
If we did another.
Vertical, maybe we can play with the design of the, the light and dark.
What's another option for how to represent light and dark first.
Let's get these shapes in here and then let's play with that
pattern, the light dark pattern.
So I'm just going to do a quick, a similar one.
What are, what other opportunities are there?
What if we tip the book the other way
and we've got the flute.
Still like these organic shapes.
Got the leads going up.
I like to leaf going off.
Let's leave the leaves going off.
So what if,
what if we, well, let's, let's try another one.
Maybe we'll find we like this better.
So we play with something like the contrast right now is really high here.
Ten to, you know, ten to one if we're looking at a full value spectrum,
what if we try to group all of this together kind of more in one family?
Let's bring this shadow shape up against that.
And this time I'm going to use them mid value just to see
how this will change things.
And I think instead of having the apples, light and dark, what if we do
mid and dark on the, the apple shapes?
So that the lightest they are is this mid value.
This is a real test for me to keep it simple.
I got to tell you, I'm still studying how to see the big picture.
I think for the rest of my life.
It doesn't come naturally to me.
I always want to paint.
I always want to paint the fleas before the dog, and that's not how it works.
Let's, let's drop in a mid-value just to get something going.
I'm going to take that all the way in against this.
We might separate that from the background later, but for now,
yeah, we'll probably have two or we'll lose, we'll lose the apple.
So let's, let's define that a little better.
I'll leave the background, the mid value.
I'm gonna take this dark over the shadow shape of the vase.
Describe the apple a little bit more.
Sometimes you, you may want to do that in group it all together.
I'm just worried.
It was getting a little too ambiguous for this.
So there's that here we can let the improvised book shape stay light then.
Give it a little bit of a light and then a mid value.
Where do we want?
Let's put this guy, this guy, you may be wondering who this guy is.
That's what I mean.
So this flute shape.
And then let's find a way to connect this shadow shape and this float
and this, I think taking that book across, it's kind of cool.
Middle let's try the middle value on the top of that.
So we've got the champagne flute keeping us here, but it's really
close to the edge, really close.
Just kind of kill that shape here with the middle value and see
if that's going to be all right.
I think, you know, what will help is if we take this negative
shape, that's middle value and.
Well, let's try a mid-value on the flute here.
There's there's some reflected light.
I don't know if I wanna see.
Well, yeah, I kinda like that.
Let's see if we leave this light here.
If we can get away with using the mid value in the negative shape and
the shadow side of the flute, why didn't I carry this to the edge?
Do we want to?
Is that too stripey carrying this dark shape to the flute here?
Again, just trying to see really simple and it's taking everything I've got.
I'm going to describe the edge of the drape, but I need to think about this.
Do we want to describe the edge of the drape?
What have we just left that all light and pretended like this worm never happened?
Maybe we do.
Maybe we just want to do that.
If it was casting a shadow, the light's coming from this way, we could just almost
do something like that.
So if we look at this for a second, this is a more dramatic,
this feels a little busy to me.
Maybe we can do a.
This is the furthest from the light source.
So as we get to the light, maybe it could be something like that.
We were sort of playing more with the value there.
So looking, looking at it again, what if we run the vase off the
top and go for a horizontal format?
So skull, where do we want to put the skull.
The vase is going off the top.
Maybe on top of the skull.
Let's just put in some, I'm just trying to, I'm trying to see in my
mind's eye, my mind's eye finds.
It's very helpful if I use my tools and plot a couple little lines just to see.
So if this is the top of the skull, maybe the vase.
Maybe we want to push it more this way.
Let's push it over.
I'm just gonna, I'm just going to draw in a rough shape really
quick, little more off center, drop that muzzle shape off of that.
So this sort of three three-quarter.
So it's gonna, okay.
And then let's run, let's run this vertical off the top.
See ya later flowers.
Okay, this is going to all be dark.
So maybe I won't even worry about drawing that.
That is going to give us a lot off to the right side of the skull here.
So we've got book and we've got a little bit of a light from that drapery.
I do like this shape this book is making where we can see the bottom.
It's like the cool hard back ones where the corner sticks off that.
You can see the cover sticking off the pages.
That's a cool shape, although I'm, I shouldn't be seeing it yet.
Not in this thumbnail stage and those drape overlaps it.
Maybe we'll let it come all the way down off the page and then cut back up.
If we could have it cut up and face the - and point towards
the skull, that could be useful.
So maybe we want the drapery to come off and enter back on in a
way that brings us back up again.
And we know we're going to have this dark cause I said it
earlier and apple situation.
Let's let's go ahead and let the apples be a bigger deal in this one.
We sort of subordinated them the last thumbnail.
This thumbnail, maybe we'll let them stand.
So leaving a little space to keep the apples in the image.
Shadow cutting back into the drapery.
Actually that might be the shadow of the book that the skull is resting on.
I'm going to go ahead and just get a dark out for a moment
and try to find that corner.
Now, as we come back across here, I've left something unresolved.
So I've got a lot going on here.
That's that's going to get messy really quick.
I think we do want to put that champagne, champagne flute back in here, but we
might find that that's not going to work with_ that's a lot of area to have
and it's, it's potentially sort of a weak composition.
We're going to finish the thumbnail and find out.
Champagne flute, little decorative.
I'm going to take, I'm going to take the dark and knock out the background
and let's see what happens
because what is this?
An experiment we're just in the lab, running experiments.
All right, filling this in
and shadow of the vase down into.
The back of the skull above the apple.
And we're not even going to see
where it leaves the picture plane.
Again, this could be a terrible idea.
Let's let's find out.
I'm going to start to fill it in.
I'm going to find, I'm going to pick back up and find the top of this apple.
Okay, we're going to bring that dark back up and around the peel,
a little thickness for that.
And then it's overlapped by its slice.
A little dark shadow below, which brings us back up in to this.
So we've got the curve to a straight, which is, which is nice.
And then we're going to indicate a drapery situation just like quickly.
And I'm going to step this up to meet the champagne flute so that
we have described that side plane that's in shadow of that book.
I'm going to pick back up the bottom limit of that dark shape at
this apple, where that shadow runs off to the left edge of the page.
And I'm going to go ahead and just color it in.
What do you think about the skull?
I still could want to play with the high contrast on the skull.
So I'm going to keep my dark marker out.
Let's see what happens.
Try not to get caught up in it's awesome skull shapes.
Take that shadow plane down the side of it and sort of squint real
quick and just see an arch across
Muzzle and connect that dark here.
This is the edge of the book.
Maybe we leave a little bit of that it'll help describe the top lane.
I probably should have left more, but for now we, we get the idea I think.
This book, I liked that there might be a little top hitting or excuse
me, a little light hitting the top.
I'm gonna go ahead and make medium and then find that, that
cheekbone and complete that shape.
I am seeing too much face, I think still what happens if we
use the mid-tone on the vase.
Maybe mid tone on, I made a bigger deal of this than it really is, but
I just wanted some shape to keep us from sliding off the corner.
So this isn't exactly there like that, but we're going to have that be a middle
value and I'm going to find another dark on the other side of this champagne
flute we're calling it at this point and I like how that dark dips down.
And then it's overlapped by a light drape.
What happens if we filled that in with dark, we might need more of a dark to
describe the book, but it's kind of nice when it's all grouped together.
When I'm as if we just use the middle value might be okay.
Maybe this is an opportunity for a gradient and, okay.
So we've got light against dark.
Let's try one.
Where we run the apples off the left.
Want the skull to sit higher.
Maybe even as high as this.
Let's try it.
Let's try this little different
and we've got apples running off.
So find the maxilla and this guy, this apple here.
We're going to let it pop off the page and then find its slice
I'm going to do a little bit of a vertical where we see they sleeve.
And I'm gonna just put it in, in middle, right off the bat.
Bring it down around the back of the skull.
Leave a little for the apple somewhere in there.
Let's go ahead and put the shadow shape in.
Trying to be simple and decisive and not putter around too much
with the skull right now.
That's kind of looking cool.
So we want to ground the skull.
It's resting on the book.
The book is going to come back into perspective a little bit, I
think might be a horizontal, but I'm just going to push it a little
and shadow the Apple up into that side plane.
Plus the cash shadow is all this dark shape.
Let's put this dark background and again, I really just love the drama that.
We won't be able to carry it all the way down until we make some choices
on this right side of the page here.
So as this is coming down, starting to try to visualize how to resolve this.
Let's put the bucket.
It might be okay.
It's high enough that I'm not as worried about that strong diagonal
leaving the right side and let's put the, let's put the flute in.
Give it a little bit of a shadow,
Let's knock book back a little bit.
Maybe we find a little on the inside the flute.
A little dark.
Let's use that drapery to bring us back this way real quick.
Going to complete the, if this dark is under this apple, I like that there.
I like that.
They're a little more consistent.
And so many is that same value.
It's probably not necessary, but.
Kind of like it for right now.
That has potential.
The flute here. Maybe a gradient would be nice as well to distinguish this
light from this whole surface area.
If you look at the reference, even though that color of that tabletop
is, you know, maple, whatever the wood is, look at the right side of
it and compare that to the left side.
It's not the same.
We want to, we want to keep it in the same, you know, value family
probably, but there's a decent change over the surface from right to left.
And since I kind of want to set it off from the tablecloth, I might
try to just use a gradient there.
Because the light's hitting here.
It probably makes more sense to let it be lighter on this side.
Although, you know, sometimes I think you can do what you
want from just a design point.
But maybe we have some kind of gradient, just a distinguish that drapery.
It's kind of cool.
See if we can do one more.
I'm pretty hooked on vertical.
Let's try one more with the skull prominent, like this.
But maybe try it down a little lower.
I'm going to start by again, just kind of getting that big shape in.
Be interesting to see what happens with these apples in the corner.
You know, let's, let's push it over to the right.
That might help.
Instead of running the apples off the left, we could just have a little
less to deal with on the right side.
I'm not really sure.
Let's see what happens.
Watch what happens.
Maybe we get a little bit of flowers in this situation, at
least a little more of this space.
Maybe we should let's try it.
We'll cut it back a little more.
And then the leaf can go off the top.
Trying to be as simple with the shadow design.
Edge of the maxilla.
Figure that out a little more clearly later,
just to get that big shape in.
Apples are still running off the page, but.
So we're at place the skull.
We're still going to actually find the apples running off.
Well, let's find out how this goes.
Gotta be careful in the corner.
I'm going to put it in and then we'll, we'll see if we
need to take it down a notch.
I am going to find this dark.
I'm curious how this will look.
Top of the book, grounding the skull,
shadow running off the page, describing the side and bottom of the apple.
I'm going to use this mid value again,
describing the lighter part of the vase, and I'm going to bring it all
the way down to the apple and just see how we like that mid value.
And then bring the dark back in.
I'm going to find this strong diagonal that's the book.
I'm going to see what happens here when I introduce the dark to some of
the stuff in the background again.
A little more of that dark, where that shadow is,
use that to describe the form a little more on the vase, sort of a curve and
a curve cut up a little under that lip.
leaf shape knocked down a little with medium.
We come in and find the side of the book binding, and I'm going to play
with the shapes for a moment here.
Just putting a dark in.
Gonna find the inside of that champagne flute, run it off the right
and hope this isn't too distracting.
I'm going to put it in and see what we think.
Actually let's drop that lower so it looks intentionally off the page.
Transcription not available.
Some of them, I, I like more than others.
In the end I'm going to go with this thumbnail here.
So I'm going to start by indicating
So we have some idea of the space we're going to put it in.
Got a little conte here.
So with the drawing, we want to sort of plot a couple points
so we can orient things and get that matrix accurately placed.
We look at our thumbnail, we kind of find a midpoint, you know, let's
just go to and draw right on it.
Say the mid point is somewhere here on this axis and on the
vertical, you know, about there.
So we know the top of the skull is going to be a little past halfway.
I like how Chris does this kind of
cross hairs thing.
So we liked the top of the skull, a little above halfway, and
I'm going to try to go light.
This thing is hard to erase back out.
We've got that organic leaf shape coming across the midline,
indicated approximately there.
And I'm sort of ghosting things in where I can sneak up on this.
We're trying to get the big picture, right?
That's the most important thing is the first largest relationship.
Before we get in to the fleas.
We want to get the dog before the fleas.
So this is coming in here somewhere.
We go back to our thumbnail step a little aside.
We see as the skull tapers down, rising from that.
The vase, the forward limit, right in here, you know, about a third of the way
and somewhere in there, we'll just kind of indicate that lightly, lightly, lightly.
We've got a light shape of the drapery.
I've got it coming up a little sharper than it does in the reference.
Let's put it, just put it in.
About there for now.
Get this coming around, somewhere in there.
We got this coming down.
And then this shadow.
So now you guys can see where we're at.
So we've got.
A little distance.
So maybe lip somewhere in here, we want the lip in from the edge.
Don't want to run into that edge.
So lips going to be in there somewhere.
It's going to have some kind of organic, okay.
So these shapes are somewhere in there and I'm just going to kind of lightly
put an, a shape to save that space.
We know this one is running off the page around the midline.
I'm going to bring it back a little, just.
Stay off that 50% Mark.
So it's somewhere in there.
So again, I'm just sort of ghosting in kind of coming from the shoulder,
trying to use a light touch because there isn't an undo button.
I mean, there's the eraser, but it's not accord.
Isn't that quite the same for other goes slowly
and then once things are arranged, come back in with a confident, darker path.
So for now we're still ghosting in where this is all going to go.
We've got the book leaving and this is kind of, you know, it's, it's kind of
all I'm fading on the background, but I still want to know where it's going to go.
Let's just indicate it.
Somewhere in here.
We want that up from the bottom.
I've got it kind of equal to these apples.
I might actually change that.
It's probably better to push, like maybe the apples up, maybe
the champagne down a little bit.
This is a little symmetrical.
We can make that change now though.
That's pretty easy.
I'm going to pull it down a little bit.
Let's try that.
What if I pull it in this neighborhood and then I can push maybe the apples up.
I think so.
I think we can handle it.
So we got that.
We decided we might want to have this drape kinda, you know, actually maybe
it'll tuck in and come across, kinda like that in the, you know, now that we're
getting a little further point in detail.
I'm seeing it in reality, kind of in back under here.
I actually, I might, I might change that to look more like the reference
you see, then this thumbnail, this is a little simplified version.
So as we go, it's nice to have that matrix in mind, but I'm
still, I'm still making choices.
You know, if I can make it better or attempt to make it better, I'm going to.
Any, any point at all.
Let's pick up how, how wide is that skull?
We want it at least to cut in here a little bit.
We've got it on the thumbnail about there.
That is something we're going to need to have accurate, you know, you can
manipulate vases, human skulls you want to be pretty true to the structure.
Get away with more in trees and bushes than you can in faces.
This bottom plane.
So let's compare where we want this muzzle to actually end up in where we want.
And again, I might push this overlap like right now, that's where the muzzle ends.
This is where the apple ends, you know, maybe we'll push
the apple up a little higher.
So bottom of this apple, what if this other one's somewhere in there?
Kind of lightly put it in, in case we need to move it a bit, trying to
stick to either curves or straights when we first lay things in.
Keeping it simple, keeping our marks simple.
Coming up around, we want to just bring
a lot of these shapes right now are sort of placeholders.
Approximate placement here, not going dark yet.
Still need to get everything in there.
Get our matrix mapped out.
Skull is going to curve.
So there, there's sort of a nice rhythm where we see this come down,
overlaps by the apple, and then we want to find that lower limit.
And this is, this is a little tricky to see, and maybe it's not important because
it's all going to be in the same value.
So if I have a hard time sort of seeing where one thing stops and one thing
starts, I, you know, maybe I just want to be observant and be true to that.
Maybe it's not important to pull information out of a shadow, especially
if that's not the point of our drawing.
And what I really like about this is that skull is that light against the dark.
So I'm not going to get too carried away.
I'm catching myself looking for more information here.
But maybe it's more important to see less.
Want to find this limit here.
We're we're going to ground the bottom of the maxilla.
Let's, let's look at our thumbnail.
So it's actually pretty low if that's halfway it's it's below the quarter Mark.
So maybe somewhere in there.
So I might need to make some adjustments.
Let's go ahead and just ghosted in using my shoulder to keep it real light.
That might work because I've been seduced by the reference and the
way this drape tucks under it.
I might not do it like this.
This might actually be okay.
So now we have some thickness here of the side plane of the book.
It's probably not enough though.
I think I pushed the apple too high,
not a terrible idea, but it doesn't quite work.
I'm going to just drop it a little lower, be a little more true to - be
a little more true to the reality.
And I'm missing a shadow shape.
Let's put that in.
If this is the lower limit of this apple wedge, of the cast shadow, I should say.
And then this shape, do we want to run that off the picture plane?
Yeah, I think we probably do.
So I'm going to push this a little further.
There's a decision.
I, I kept it really short here, but in reality, I think I'm going to run it off.
Everything's in reality, I mean, in this phase, I've decided to run it off
the page, so we'll make this a little
longer to be consistent.
Cast shadow can come a little lower now, and now we have a
little more convincing height.
I'm going to bring this up.
This line is the limit of the top of the book that it's grounded on.
And I might
find that again.
So we might go with that.
Let's let's we'll, we'll start to see too.
When I come down here, if I have this working out, it might be that I can
actually push it up a little higher.
Let's put a placeholder for the champagne flute so I don't forget.
That little guy I've got it a little above the quarter mark.
It's just kinda eyeball something in here.
I don't really want it overlapping if I'm staying true to this.
So I'm gonna need to keep it
maybe there let's, let's put it in
So actually bringing this down.
I'm gonna push some more straights in there.
Get this detail in.
Little wider oval for the opening.
We can actually see a little more of the top than I had originally.
So the most important thing is getting the skull right.
So now that we kind of have things in there, I'm going to go back and try
to get this skull just how I want it.
And then we can sort of move things around and adjust if we need to, in
order to get the skull to read right.
I think I'll put maybe just this form shadow here from the
vase, just so I kinda know,
sort of a straight and then a change in plane.
Something around there.
So the skull, the high point on the skull is kind of like that plane.
Kind of comes down this way, where you can push, push straights while
you're organizing to help, sort of see and commit to a clear, clear form.
This is going to come across and search a slope down.
Now, let's see if we want to make it wider.
I have a feeling, it feels too tall.
Let me just move the back.
And that's probably slipping too quick there.
Let's find a landmark on the skull.
Let's find a, let's find that brow ridge.
The form shadows coming in here.
Looks like the brow, maybe somewhere in there that bell
shape is going to dip below.
So that limit that upper limit of orbit maybe is somewhere in here.
Just go in and pretty light for now.
And the width here where that temporal edges.
I'm gonna choke up for a second on my pencil here.
This is dangerous because it can get dark really quick.
Just try to indicate that this is an important piece because that shape is
probably going to be one of our sort of focuses for near the focal point.
Underline, we probably should already had that.
And let's see.
So if I measure from the edge, how far does it come in?
Somewhere in here.
I want to be really like, cause it's gonna be harder to get back out of this paper.
Want to find from the center to the maxilla?
That's sorta kind of coming down the middle of the eye.
So this is the eye shape.
Ghost that in.
We gotta double double-check that when we have something to measure against.
Still looking to, to have a lighter treatment, making sure
I am checking plumb lines.
No pulling a vertical and seeing where things line up or horizontal
and seeing where things line up is a good way to lay things in.
Trying to get those big shapes before I start getting into too much detail.
Light is landing in the bottom of this orbit.
That's another important thing we really want to have.
And so I might look and say if the top of the noses here and look horizontally
to gauge how far down that light is catching on the bottom of the orbit.
Just keep finding ways to check to double check yourself.
And now this starts to merge.
This is in shadow.
So we see the nose fall off like this, but then it starts to
connect up where the shadow is.
Some are about their bottom of the nose.
It's really a nasal cavity.
The nose is conspicuously absent from a skull, of course.
I'm going to indicate where I think that maxilla\ is.
And then we have teeth coming up that we start to lose things in shadow
somewhere in that neighborhood.
Now from right to left, we start to see that nasal cavity turn up before
we hit another form shadow, which seems to kind of - on this plane somewhere.
This might need to be a little further back because this, if
we compare to this maxilla is pushed off the face a little more.
Let's see if we can adjust that.
I kind of lay in a rhythm here.
So we have some idea of where things are going.
Just want to be very clear before I start laying in value.
That the matrix or the drawing is pretty accurate.
Let's spend a second kind of clean it up.
This is an important corner showing - showing that top line of the book
and we want to run it into the flute.
And then I've pushed that all back a little bit.
I think I'm going to take a pass now at finding where these shadow tones are
going to be and trying to lay them in sort of lightly at first and uniformly.
Let's get a little more clear first in some of these shapes, we're starting to
get them a little more characteristic.
See if I can get that to lay down.
There we go.
So this Apple.
Cut in here.
Kind of very, at this edge is a little sharper.
Let's make this one a little flatter.
Kind of take out that approximation.
That was a little off.
Just indicate where seeds might be hiding.
And then we're going to run into the slice here.
So this is a flatter plane.
Cut that off.
Then pick up the curve.
Find that top limit.
Kind of comes down from more, that slice was cut towards the core and then kind
of curves back up and around this way.
So we can take that off.
That looks a little more accurate.
Might have a little indication somewhere in there.
And I did alter the shadow, but I want to clean it up.
That's again, that's kind of ghosted and let's, let's get it clear, let's commit.
Something like this maybe.
And I like to find a little edge in there, so it's a little less
general, maybe a little more.
Specific will sharper towards the fruit and a little
softer as it leaves, moves away from the light.
So we got that.
We did want to put this in clearly, so.
Okay, well, let's look at this drapery more carefully.
Look at the folds.
Here's a cast shadow.
And it is overlapped by another shape,
which we start to lose there.
And I want to find these planes.
Sort of anatomy of everything and drapery warrants its own study.
For now let's keep it pretty simple.
We'll have this plane we'll kind of climb up before it starts to fold back in.
And use a little softer line.
And this starts to curve a little bit
as it falls into shadow.
And we pick it back up.
Let's make sure that's clear.
If you end up with more than one line, just, just erase
the ones that you don't want.
Do it before you forget though, or you start to wonder what you meant to say.
So we might have it dip down and come back up.
Somewhere in there.
Then we have a shadow.
And then that runs into this, this whole dark area.
It's a little bit of the local color and a little bit the cast shadow.
All we need to know at this point is that it's dark.
And maybe there's a little variation here where the folder is.
Let's just simplify it.
And then pick it back up in this.
Here we're finding the lower limit of the fabric, which we changed.
I'm going to drag you down with me like that.
It's a we.
Gonna find the shadow cast here a little bit and just pull maybe variety
in that edge, somewhere in there.
Champagne flute has some cool reflected lights and other things going on in it,
but we don't want to get too caught up in looking too closely at this point.
We want to group simply.
So at this point, it's all a mid value we can come in later probably, and just
erase a little reflected light in there.
The important thing is having the drawing, I think, correct and then sticking to
those value families, simple to complex.
Start, start with simple.
Give it a little bit of a opening as we're looking down into it.
Our perspective, our, our point of view is higher.
And this book we've got in dark.
So we might find that we just sort of lose this all in the shape.
Do we have enough yet to think about tone?
Let's clean up some of these edges before we get the side of our pencil out.
This is too thick.
I don't like that.
We actually can't even really see the stem.
You can, you can see it, but not well, so maybe we don't even need it at this point.
So we've got straights against curves.
This is a little more of a curve.
And a little more of a curve.
It's good to look for those varieties when you're, when you're working
at home and you want to make your things more interesting, no matter
what subject you're working on.
If you find you've made too many curves in a row, look for straight or vice versa.
So I straightened that out.
So straight, straight, straight, and then maybe a curve up.
With organizing all these things, just keep checking for opportunities.
And if we indicate a little light in there, I might just come back
and pull it out with an eraser.
So I'm not going to draw a big thick STEM right now.
This line could be cuter.
Let's do a better job designing the space.
So the lip comes around here, gets more narrow, and then maybe it
angles out like this a little better.
Just to kind of clean it up.
Let's start by organizing this.
We've got, let's put in.
Let's put in just the darks here.
I'm going to take the side of my pencil and just real
carefully start to put this in.
I find one more limit here.
Just a little lower.
Kind of turn the pencil a little bit so you keep that taper nice or
if you stay on one side too long, you'll just, you'll flatten it out.
Okay, so that's mid value before I get too carried away.
- having this outline and around the couplet is little bit of a
gimmicky way to handle it, but it kind of wanted to make it clear.
And we decided this is okay.
Let's go back and look at the shadow shape.
This is what we didn't finish.
Missing the cast shadow is it comes over the top of the fold and wrapping back in.
Starting to see where we need to go.
Let's go - let's put the mediums in and then we'll come back over and push
the darks mid value mid value here.
Actually, we might pull a little highlight on that later, but
let's just get a mid value.
So we'll knock that back.
And our foreground, a lot of mid value here.
Okay, I'm going to start to darken this dark here.
Might leave a little spot for this, but generally, you know, you can always go
back with your eraser and pull things out.
If you don't get too carried away, sometimes outlining things like this
can haunt you, but it's probably more clear for this demonstration.
You might find more clever ways of.
Leaving light negative spaces like that, or just going back in with your
eraser is a really good option too.
So around this edge of the apple, it's a pretty sharp turn,
pretty sharp angle that it's cut.
So that line might be pretty sharp.
The line that indicates where it turns on the shadow starts.
A little softer in here.
And then back to where we've taken a cast shadow and we're going to soften
the edge as we go away from the light.
Or away from the object that's casting it.
Let's get a little darker in here.
See if we can get kind of a three value read.
All right, so we're gonna keep an eye on the skull form.
Make some little adjustments and start laying in the darker values.
This, this feels like it might be a little too low.
This sort of disappears quick to off the side, and then we
start to lose it into shadow.
All right, so let's come back again.
Let's let's keep playing this in.
I'm going to make sure there's conte all over the side of my hand.
And for now we're working with limited values, a light, a medium and a dark.
I'm going to try to lay them in uniformly, build up slowly,
Rotating the pencil to keep this nice edge.
And hopefully you're starting to see the idea here,
putting a little more lean into it.
We'll clean up some of this with the eraser at the end.
Little softer edge here, drops into that glabella area and then
soft on top, sharper underneath.
It's a little soft here and then
we find it's sharper at the bottom of this orbit.
A little softer at the bottom of that zygomatic process that
turns into that cheek bone sort of goes orbit to the cheekbone.
There's this little highlight.
See if we can find it, start at the top here.
So coming around from the back plane,
get that nice gradual soft edge here.
And then look at the change as you bring it to a harder edge into that
temporal area, a little sharper,
and then this actually dives down and into the shadow.
We almost see it again.
And then this shape, it's a little harder on the top here.
A little harder.
And then you see how this softens a little more gradually, so play with
the tip, play with the side, see what the different marks are when you
use sort of two tools in one pencil.
So we be the tip and then that softer edge and pay it, pay attention.
See, see if you can find the character in those edges.
Really gets important to make a form form turn.
Is there kind of a big deal guys for now?
Let's just try to get them pretty close to accurate,
kinda softens a little in there.
Fairly firm here.
A little softer going back up into the side of the orbit.
Just kind of want to keep this middle and this darker.
Changing that as I go a little bit.
Teeth, teeth are so fun.
I'm not going to get too carried away.
I'll I'll indicate on my nose as well.
Just kinda get some shadow shapes in there.
And we've got -you see where that protrudes that's where like maybe
a canine is sitting underneath the bone and you see it kind of con
or excuse me, convex kind of curve up around where a tooth would fit.
We will just kind of hint at it like that.
That might be a thing.
lost a little on the tip there.
This kind of curves under.
So we kind of got that.
Let's bring dark to here.
This is all in shadow.
We don't want to see too much if it's, if it's in shadow, we're
keeping our families together.
We're keeping organized.
That's going to be a stronger read if we can stay organized.
I'm just going to smear that up a little bit here on purpose,
because it's kind of a soft turn.
And then let's just push it, lean on it, lean on the gas a little bit.
See if we can wrap this up to at least get those three values to show you guys,
you can break an eraser and look for a clean spot.
Try to pull some things back out.
We'll be subtle, but you can, you can do a lot with that too.
And then this, we lose in shadow.
Let's get that in.
Let's get that a little darker.
How you guys doing?
You drawing already?
Just kind of define this a little bit.
We want this to be a little more mid value.
We want to pick up that
curve and that might dive a little harshly.
Let's pick up some dark here.
So you kind of start to see, start to have a payoff for all your
thumbnails, all your experiments.
You finally get in there and start kind of seeing what you can make.
I'm going to do a little more finishing here.
Let's get that dark of this side of the book.
You might find you want to stop and tune your pencil too.
If you start to lose the edge, if you start to lose the edge of your
pencil, take a time out, go to the trash can and get it back because
you start finding you don't have the tools to say what you want to say.
It's no shortcut.
Just call time out.
Go fix it.
Don't be lazy.
I'm going to call time out and fix mine.
Did a little bit of tuning to lose my edge.
So we got that a little back.
We got some darks in here.
Maybe we'll find part of that back lip.
Not get too carried away.
Just pick out a little of that flute.
Get some dark in there.
This is supposed to be medium.
It's a little too close to light.
Let's push it.
Maybe pull some of that smeared dark back out.
Get that overlap.
It's getting a little messy.
So just pick out some things,
not going to get too carried away with variation in the light.
We just want that light, medium dark read for now.
Get a little darker in here.
Maybe it's nice to pull out a little bit of light.
Have a little gradient.
That darker a little darker.
A little softer edge there and pull out a little light.
Kind of want to keep an eye.
You might find your hand drags through your drawing a little bit, and you
might just want to go back in and like pull out a little highlight
maybe on the back of that flute or mid-tone just something to get that
And let's just punch a little more dark before, before we call it a demo.
You guys, are you starting to see the value of this?
Raise your hand.
Can't call on you.
But I want you to, I want you to think of a few reasons that this could be valuable.
This is something where we've been able to in cheap post-it notes,
organize a bunch of potential options.
This could have been, this could have been for animation.
This could have been for a concept and this could be for a final oil piece.
This is something that's literally gone back hundreds of years and
the applications are gonna - are, are pretty much endless.
This is something you're going to need to do for everything.
There's really no limit in, in how far reaching the application of this is.
You can take this into oil.
You can further develop it.
You can, you could take and build on the image that you've just
spent all the time creating.
This is, this is an ongoing process that just, it keeps paying off
and paying off and paying off.
And you'll find that you might wake up in the middle of the night when you
think you're done, you think you've got all the permutations worked out,
you might just want to keep some post-its by your bed just in case.
Cause you might find this, this is catalyzing and triggering a stream of
ideas that that continues even after you have put them away for the day.
So coming into the homestretch here, you may want to make a couple
marks step back and check, you know, you're done when you've said what
you want to say no more, no less.
Once you've gotten your message across that's when you get to
stop and high-five somebody.
So just keep an eye.
I don't like this tangent here, maybe I'll
- hmm, might be tricky to take that out.
You're kind of looking for that happy medium where you've said what
you've wanted to say, but you're not leaving anything incorrect.
You don't want to overdo it.
But if you see something wrong, you probably do want to fix it.
This is probably a little too dark.
If this is a shadow of a light, gonna take this back a notch.
Leaning it on in the last couple minutes here.
Starting to get a little messy here with this charcoal.
So it's gonna get harder to pull it out, but I just really wanted to try
to push that light against that dark.
I might even take this one down a little bit as it's headed out of the top.
Kind of a little softer.
A little smeary.
Let's take a little out of that.
It's getting so smeary I'm having a hard time pulling it back out, probably got
this darker than I would have liked to get it to read as a, a lighter light.
But for the most part,
I think it's pretty wrapped up.
I think I've saturated it with pigment to the point where we
probably can't pull anything back out.
Transcription not available.
Reference Images (2)
Free to try
1. Learning Recommendation24sNow playing...
1. Creating 3-Value Still Life Thumbnails I23m 46sNow playing...
Watch the whole lesson with a subscription
2. Creating 3-Value Still Life Thumbnails II21m 44s
3. Learning Recommendation24s
4. Laying Down the Initial Drawing34m 35s
5. Blocking in the Shadow Shapes I11m 55s
6. Blocking in the Shadow Shapes II9m 55s
7. Refining Small Details and Pulling Out the Lights for Completion19m 34s