- Lesson details
- Transcript
- References
- Instructor
- Glenn Vilppu
- Subjects
- Drawing
- Topics
- Composition, Drawing Exercises, Human Figure, Tools and Materials
- Mediums
- Pen, Water Brush
- Duration
- 1h 47m 54s
No need to wait until Inktober to learn Glenn Vilppu’s gorgeous fountain pen and ink wash technique inspired by the artists of the Renaissance. In this fourth lesson in Glenn’s advanced Renaissance Figure Drawing course, you will learn how to draw the figure using a fine nib fountain pen and then work into that drawing with a wash using a water brush.
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AUTO SCROLL
Okay, this time I'm going to be doing all of my lecturing on
the paper with the pen but going to be using and the
water brush but basically those two things. I mentioned this last
week, but I'm working with a Namiki Falcon
super super fine point.
And I'll talk about that, we'll be demonstrating that as we go
along. So and the water brush. So two very basic elements
here, so well, let's get started.
the paper with the pen but going to be using and the
water brush but basically those two things. I mentioned this last
week, but I'm working with a Namiki Falcon
super super fine point.
And I'll talk about that, we'll be demonstrating that as we go
along. So and the water brush. So two very basic elements
here, so well, let's get started.
AUTO SCROLL
Okay, like I said, what I'm drawing with today is the enemy
Namiki Falcon.
The most fine point that's available and there's a
lots of there's lots of good pens on the market.
A lot cheaper, you can get pens from five dollars. This is one
cost me with a brass barrel $350 so
broad range, but it's the tool that I use all the time,
it's in my pocket every day. I get up in the morning it's the
first thing I do is pick up my pen. Okay. Now the idea of
what we're going to be working with is several
different elements. One is the taking and
using the pen
and for instance I'm taking starting out. Basic stuff. Now, I'm going
to be working with water. So I'm working with the
water brush and taking and
moving around. Now this will - alot of similarities to taking and
working with the water-soluble pencil, but you can see where I
can take and really push the tones around working with
just water.
Now another element of this as I'm doing this you can see I'm
taking and actually let's just take and
if I
Now
I use the ink and the wash as an element to take and create
space, atmosphere. In other words if I come in between
with this I'm taking and
creating space, atmosphere, and through. So you
can feel the air moving through and around all. Over here what
I did is I was expanding on the basic gesture as we take and
move around. So these are the basic elements
besides also taking and being able to take and do a bit of
rendering with the form
to take a pull. So it takes a little bit of practice to take
and learn how to manipulate, work with the pen.
One of the advantages of taking and working with a very -like I
said this is a super fine pen, point and pen. Okay?
Also I said this is like a $350 pen. Just because the pen
is expensive does not necessarily make it good. I've
got other pens that I've paid even more for that don't work
nearly as well. And you can get the regular plastic barrel
pen for half the price. But anyway, the Namiki Falcon I
should be getting -
they should be sending me free pens. Okay, anyway, so what we
work with the pen and then also what comes as
part of an element is the simple idea of a cross edge.
Notice the way I'm working with those lines just taking and
then going over.
Now there's another element just in the technical part here
is that
I generally I will keep my finger on the paper. So
that gives me control . In other words I'm coming down here.
We've got my thumb down. Also, you're going to get ink on
fingers from when I was filling the pen. Okay, so you can build
value just by taking and doing cross hatching.
Now another element with this cross hatching is that
you can use it like here I was taking and using the wash
to take and create tone. Now I can drop areas into tone just by
doing what I did here just by taking and just using a very
very simple.
Now one of the qualities - maybe I should make this do
this on here. So what I want to show is that
if you keep your lines consistent as you're putting them
down,
you don't lose what you have underneath. So that you can
build up, you can still have the line, I can go back into that
and so that this, the crosshatch lines I just put down, just
become - they're neutral. They just become a part of the
atmosphere.
So
the biggest difficulty working with the pen is that it's very
intimidating.
Actually during the Renaissance artists - not
not all artists work with the pen because it was considered
so much more difficult. Okay. One of the difficulties is
that it's an intimidating tool
and you find that you have to take and develop a certain sense
of bravado or
taking and not worrying about putting the lines down
because if you focus on making, trying to make every line
perfect, it won't work.
Okay, and so let's take and start with this first figure
and I'll take and this will become a
sort of an experimental thing to take and show what I'm
talking about all the basic elements. Also generally
speaking I work considerably smaller working with a pen.
I'm not doing large drawings. I'm taking and working fairly
small. Okay. Now the first point I was trying to make was
that
the line that you put down when you start putting it down, it
tends to be really intimidating. You think
that
every line has to be perfect with a pen. You're not going to
change that line. Well in reality what happens is that
I'm going to demonstrate this here now. This as you look at
the model
now I'm going to take an approach this exactly the way I
do everything else very very simple gesture, focusing on the
gesture, the flow
of the line.
So as I'm going through. Now, this is the part that creates a
lot of anxiety
in general for the student in that putting these lines down
there's the
realization of course, these lines aren't going to go away.
Okay, and that they have this sort of a permanency
about the thing and so we're making this quote, the sort of
messy drawing.
And that was actually,
when I was teaching a class
in Japan and I had some in a regular school I has
some of these instructors who were in the school who were
teaching a lot of my stuff. It's one of the comments
that students, the Japanese students made to those
students to the teachers was they hated this messy
drawing.
Okay, so what's happening now? Okay, we've got all these lines
down the exactly the way I draw whether I'm working with a
pencil and ink. I'm getting the feeling, the flow, the
composition. Now what you're going to see is that as I
develop the form that the sort of random looking lines will
basically start to disappear. So as I go back into the
drawing now
and I start to take and carry a little bit farther.
Well, you notice that I'm just taking and hitting parts again.
I'm not being really all that precise. I'm just blocking in
like as I come in and drawing, thinking the rib cage.
Coming through.
So everything I do
with a regular pencil, I do it exactly the same way
with the pen. Also
if you've seen my drawings, working on a drawing on a pad,
you will find that again this becomes a
standard sort of way of working.
This working going over the surface of the form. Notice I'm
putting lines that are actually going over,
through.
Feeling the form.
Now as you can see that as we keep developing form, you're going
to see that, like I mentioned, that those lines
that I start with will start to pretty much take and fade into
the background, especially when I start to take and use any
kind of wash on the drawing and feeling the flow here. I will
feel the drapery coming across, building up.
And put a shoulder going down, back's going in.
Feel the flow.
Now at this point I'm taking and going to start going over the
form. So it's as if I had this surface her,e if this was like a
cylinder going across the form,
say across contour.
So I'm
pushing the sides down.
Now the advantage of this very fine point that I'm drawing
with is that
I'm able to control
the amount of ink that's actually being applied so that
I don't put down as much ink so I'm able to take and use the
wash. Or another element involved here is that the ink
I'm using is a Montblanc Brahms.
Montblanc is a of course big very very fun pens.
And but their ink is is also superb.
So I use the Montblanc in brown or which would be brown.
Now. I'm going to go into this with the wash.
Now what I'm going to do is a lot of the basic things we just
talked about here. So start with I want to feel the flow
and the movement and so I'm bringing an atmosphere. So I
want to pull tones going to go over and around the form. So
start with we can pick up
here. Now another element working with the wash is that
it actually can work
almost like an eraser in that it'll take and
blot out things. Now what I do is I gradation. I start
to put water down in the areas before the ink for the pen so
that I can take and gradate. So I'm coming from here then I
gradate that line into there.
I'm going over the surface, pulling around.
Now, of course,
you can do
ink drawing where you don't use any wash at all and quite often a
lot of my drawing particularly when I'm
traveling I don't use necessarily wash all the time.
Although the wash is really a convenient way of taking and
getting things very very very quickly
put down.
Now here I'm going to take and drop this whole lower leg into
shadow.
Putting the drapery going behind,
putting tone behind, feeling the air, the atmosphere, going
behind.
Also, take and be conscious of the fact that
I don't take, particularly pay much attention
or I should say I don't worry about the actual light that
happens to be falling on the model. If I see tones and
shadows and stuff that are useful I will use them, but I'm
not copying obviously. So now I've gone through this two
times now, so now I'm going to go back in with the pen again.
Now when you have water that's down and you go back into it with a
pen, with ink, it's going to take and bleed a little bit. It's
also going to tend to get darker.
Taking a little bit of care here with the hand. I take it and
as I'm doing this I'm constantly actually taking and sort
of rehearsing the strokes as I put them down.
Now
where I got the confidence to take and work so freely
beginning with was actually taking and studying the
pen drawings of Rubens. You look at Rubens' pen
drawings, you will see that he had
lines going all over the place. Now I'm talking these were the
drawings that mostly were done from imagination, without
models. But once you look at the drawings and how they
started and then how the drawings were developed and
you can see how he had lines all over the place that then he
was able to take and continue working on a drawing and
developing it further wnd that those preliminary lines really
just sort of fade into the background. Like already now,
you're looking at this drawing you can see that the preliminary
lines that I put down pretty much are taking and
fading into the background.
Here I'll take and just for demonstrating the
cross hatching here I'm going to take and use.
So you can now see I'm taking and dropping part of that
drapery into tone with just cross hatching.
Now I want to go back into this,
in other words I want to feel the tones coming through.
Now the paper is satisfactory.
It's not made necessarily for taking and
doing a lot - it's not a watercolor paper.
Often I will take and actually do pen drawing
using a hot press
watercolor paper, which is a very fine paper.
Now one of the characters you notice that I actually I
don't draw very fast, I'm drawing really quite slow already quite slow
and that
the drawings will actually look rather spontaneous
where in fact, I'm being really quite calculated as I'm doing
this.
So the speed of the drawing that you do,
how fast you draw in other words,
it doesn't have really an awful lot to do with
what the actual end result is. You want to take and give
yourself a certain sense of freedom, but at the same time
I'm being very controlled but the drawing looks loose and
free.
So it's the what you want - what the drawing looks like is what
you're after.
So I'm taking and using these tones. See now as I do that you
can see that we haven't lost any of the lines for that leg.
Now in things like using drapery, notice that from the
model you can see the drapery's hanging pretty flat. Well, what
I do is I take and I basically want the feeling that things
are flowing and moving so that it doesn't feel static.
So I will take and pull the drapery out and give it a
little bit of life.
And here I'm changing the angle of the drapery to go along with
the flow of the figure.
Now, I can go back into this and work with some of the lines
that I've taken and added and adding a little bit more
to it so even taking tones of the wash carrying out. I'm
going to take and push.
So there's a lot more flexibility in working with the
pen
than we tend to imagine and let yourself says itself do let yourself
experiment a little bit and work with the flow of the thing. Okay,
let's take and try another drawing.
Namiki Falcon.
The most fine point that's available and there's a
lots of there's lots of good pens on the market.
A lot cheaper, you can get pens from five dollars. This is one
cost me with a brass barrel $350 so
broad range, but it's the tool that I use all the time,
it's in my pocket every day. I get up in the morning it's the
first thing I do is pick up my pen. Okay. Now the idea of
what we're going to be working with is several
different elements. One is the taking and
using the pen
and for instance I'm taking starting out. Basic stuff. Now, I'm going
to be working with water. So I'm working with the
water brush and taking and
moving around. Now this will - alot of similarities to taking and
working with the water-soluble pencil, but you can see where I
can take and really push the tones around working with
just water.
Now another element of this as I'm doing this you can see I'm
taking and actually let's just take and
if I
Now
I use the ink and the wash as an element to take and create
space, atmosphere. In other words if I come in between
with this I'm taking and
creating space, atmosphere, and through. So you
can feel the air moving through and around all. Over here what
I did is I was expanding on the basic gesture as we take and
move around. So these are the basic elements
besides also taking and being able to take and do a bit of
rendering with the form
to take a pull. So it takes a little bit of practice to take
and learn how to manipulate, work with the pen.
One of the advantages of taking and working with a very -like I
said this is a super fine pen, point and pen. Okay?
Also I said this is like a $350 pen. Just because the pen
is expensive does not necessarily make it good. I've
got other pens that I've paid even more for that don't work
nearly as well. And you can get the regular plastic barrel
pen for half the price. But anyway, the Namiki Falcon I
should be getting -
they should be sending me free pens. Okay, anyway, so what we
work with the pen and then also what comes as
part of an element is the simple idea of a cross edge.
Notice the way I'm working with those lines just taking and
then going over.
Now there's another element just in the technical part here
is that
I generally I will keep my finger on the paper. So
that gives me control . In other words I'm coming down here.
We've got my thumb down. Also, you're going to get ink on
fingers from when I was filling the pen. Okay, so you can build
value just by taking and doing cross hatching.
Now another element with this cross hatching is that
you can use it like here I was taking and using the wash
to take and create tone. Now I can drop areas into tone just by
doing what I did here just by taking and just using a very
very simple.
Now one of the qualities - maybe I should make this do
this on here. So what I want to show is that
if you keep your lines consistent as you're putting them
down,
you don't lose what you have underneath. So that you can
build up, you can still have the line, I can go back into that
and so that this, the crosshatch lines I just put down, just
become - they're neutral. They just become a part of the
atmosphere.
So
the biggest difficulty working with the pen is that it's very
intimidating.
Actually during the Renaissance artists - not
not all artists work with the pen because it was considered
so much more difficult. Okay. One of the difficulties is
that it's an intimidating tool
and you find that you have to take and develop a certain sense
of bravado or
taking and not worrying about putting the lines down
because if you focus on making, trying to make every line
perfect, it won't work.
Okay, and so let's take and start with this first figure
and I'll take and this will become a
sort of an experimental thing to take and show what I'm
talking about all the basic elements. Also generally
speaking I work considerably smaller working with a pen.
I'm not doing large drawings. I'm taking and working fairly
small. Okay. Now the first point I was trying to make was
that
the line that you put down when you start putting it down, it
tends to be really intimidating. You think
that
every line has to be perfect with a pen. You're not going to
change that line. Well in reality what happens is that
I'm going to demonstrate this here now. This as you look at
the model
now I'm going to take an approach this exactly the way I
do everything else very very simple gesture, focusing on the
gesture, the flow
of the line.
So as I'm going through. Now, this is the part that creates a
lot of anxiety
in general for the student in that putting these lines down
there's the
realization of course, these lines aren't going to go away.
Okay, and that they have this sort of a permanency
about the thing and so we're making this quote, the sort of
messy drawing.
And that was actually,
when I was teaching a class
in Japan and I had some in a regular school I has
some of these instructors who were in the school who were
teaching a lot of my stuff. It's one of the comments
that students, the Japanese students made to those
students to the teachers was they hated this messy
drawing.
Okay, so what's happening now? Okay, we've got all these lines
down the exactly the way I draw whether I'm working with a
pencil and ink. I'm getting the feeling, the flow, the
composition. Now what you're going to see is that as I
develop the form that the sort of random looking lines will
basically start to disappear. So as I go back into the
drawing now
and I start to take and carry a little bit farther.
Well, you notice that I'm just taking and hitting parts again.
I'm not being really all that precise. I'm just blocking in
like as I come in and drawing, thinking the rib cage.
Coming through.
So everything I do
with a regular pencil, I do it exactly the same way
with the pen. Also
if you've seen my drawings, working on a drawing on a pad,
you will find that again this becomes a
standard sort of way of working.
This working going over the surface of the form. Notice I'm
putting lines that are actually going over,
through.
Feeling the form.
Now as you can see that as we keep developing form, you're going
to see that, like I mentioned, that those lines
that I start with will start to pretty much take and fade into
the background, especially when I start to take and use any
kind of wash on the drawing and feeling the flow here. I will
feel the drapery coming across, building up.
And put a shoulder going down, back's going in.
Feel the flow.
Now at this point I'm taking and going to start going over the
form. So it's as if I had this surface her,e if this was like a
cylinder going across the form,
say across contour.
So I'm
pushing the sides down.
Now the advantage of this very fine point that I'm drawing
with is that
I'm able to control
the amount of ink that's actually being applied so that
I don't put down as much ink so I'm able to take and use the
wash. Or another element involved here is that the ink
I'm using is a Montblanc Brahms.
Montblanc is a of course big very very fun pens.
And but their ink is is also superb.
So I use the Montblanc in brown or which would be brown.
Now. I'm going to go into this with the wash.
Now what I'm going to do is a lot of the basic things we just
talked about here. So start with I want to feel the flow
and the movement and so I'm bringing an atmosphere. So I
want to pull tones going to go over and around the form. So
start with we can pick up
here. Now another element working with the wash is that
it actually can work
almost like an eraser in that it'll take and
blot out things. Now what I do is I gradation. I start
to put water down in the areas before the ink for the pen so
that I can take and gradate. So I'm coming from here then I
gradate that line into there.
I'm going over the surface, pulling around.
Now, of course,
you can do
ink drawing where you don't use any wash at all and quite often a
lot of my drawing particularly when I'm
traveling I don't use necessarily wash all the time.
Although the wash is really a convenient way of taking and
getting things very very very quickly
put down.
Now here I'm going to take and drop this whole lower leg into
shadow.
Putting the drapery going behind,
putting tone behind, feeling the air, the atmosphere, going
behind.
Also, take and be conscious of the fact that
I don't take, particularly pay much attention
or I should say I don't worry about the actual light that
happens to be falling on the model. If I see tones and
shadows and stuff that are useful I will use them, but I'm
not copying obviously. So now I've gone through this two
times now, so now I'm going to go back in with the pen again.
Now when you have water that's down and you go back into it with a
pen, with ink, it's going to take and bleed a little bit. It's
also going to tend to get darker.
Taking a little bit of care here with the hand. I take it and
as I'm doing this I'm constantly actually taking and sort
of rehearsing the strokes as I put them down.
Now
where I got the confidence to take and work so freely
beginning with was actually taking and studying the
pen drawings of Rubens. You look at Rubens' pen
drawings, you will see that he had
lines going all over the place. Now I'm talking these were the
drawings that mostly were done from imagination, without
models. But once you look at the drawings and how they
started and then how the drawings were developed and
you can see how he had lines all over the place that then he
was able to take and continue working on a drawing and
developing it further wnd that those preliminary lines really
just sort of fade into the background. Like already now,
you're looking at this drawing you can see that the preliminary
lines that I put down pretty much are taking and
fading into the background.
Here I'll take and just for demonstrating the
cross hatching here I'm going to take and use.
So you can now see I'm taking and dropping part of that
drapery into tone with just cross hatching.
Now I want to go back into this,
in other words I want to feel the tones coming through.
Now the paper is satisfactory.
It's not made necessarily for taking and
doing a lot - it's not a watercolor paper.
Often I will take and actually do pen drawing
using a hot press
watercolor paper, which is a very fine paper.
Now one of the characters you notice that I actually I
don't draw very fast, I'm drawing really quite slow already quite slow
and that
the drawings will actually look rather spontaneous
where in fact, I'm being really quite calculated as I'm doing
this.
So the speed of the drawing that you do,
how fast you draw in other words,
it doesn't have really an awful lot to do with
what the actual end result is. You want to take and give
yourself a certain sense of freedom, but at the same time
I'm being very controlled but the drawing looks loose and
free.
So it's the what you want - what the drawing looks like is what
you're after.
So I'm taking and using these tones. See now as I do that you
can see that we haven't lost any of the lines for that leg.
Now in things like using drapery, notice that from the
model you can see the drapery's hanging pretty flat. Well, what
I do is I take and I basically want the feeling that things
are flowing and moving so that it doesn't feel static.
So I will take and pull the drapery out and give it a
little bit of life.
And here I'm changing the angle of the drapery to go along with
the flow of the figure.
Now, I can go back into this and work with some of the lines
that I've taken and added and adding a little bit more
to it so even taking tones of the wash carrying out. I'm
going to take and push.
So there's a lot more flexibility in working with the
pen
than we tend to imagine and let yourself says itself do let yourself
experiment a little bit and work with the flow of the thing. Okay,
let's take and try another drawing.
AUTO SCROLL
Okay. Now in this drawing I'm going to take and go a little
bit farther, a little bit farther in terms of the rendering some
of it. So I'm going to take and draw a little bit larger.
But I'm still starting out very very free.
Notice I'm taking, I rehearse the strokes as I'm
doing the drawing.
Okay you can see I started drawing the same way.
I really pretty consistent and this is a point that I try to
get across to
students is that they should make an effort to take and
start each drawing
exactly the same way so that what you're doing then is
you're taking and creating a literally a neural pattern in
your thinking as you're doing the drawing. to drawing
And so that the drawing becomes a bit more
natural and automatic so that you're not having to think
about the drawing. Drawing is a tool. It's not
something that we by itself we use it to take and
communicate, the drawing is as I've said many times is the
interface between your mind
and the world. You're taking and using the drawing as a means of
taking and getting your ideas and your thoughts down.
Over the surface. Notice I'm taking as I'm doing the
drawing, I'm taking in expanding
the volumes. Now one of the things in this drawing I'm
going to take and do a bit more of is taking and
going over the surface of the form. In other words
coming across.
So now I'm really setting my hand down on the paper and I'm
taking and...
Okay, so now I'm going to constantly going over the
surface.
I've been talking to students
as I do a lot of drawing on the iPad.
And but what applies to working with the pen is at the same time
is that
it takes a certain amount of effort and time to take and
develop your skill.
Like these crosshatch lines that I'm putting down,
when I was a student I worked doing comic books.
And I was hired
to take and I worked for somebody else
and
it was totally something new to me. I had never done any
comic books or anything like that and we worked with a
brush, Windsor Newton Series 7
watercolor brush,
double O.
And so the first day
he took and set me down
and gave me a brush,
a jar of water, rags, paper, ink,
then he had me taking and making lines
with the brush.
Well, he had me doing this for eight hours.
Just so I can get up to speed
taking and working with the brush.
And it was taking and putting the brush in
into the ink,
making lines
washing the brush off,
drying it, and doing that again. Did that for
eight hours.
To this day I am pretty good with it if I do say so myself.
With a brush
taking and drying making lines. Okay, so you can see now as
I'm building this I'm being very deliberate, gonna take and feel
the flow.
Now
the more developed the drawing becomes,
the less, again as I mentioned before, the less you actually
see
of all those preliminary lines that I put down, taking and
feeling the gesture.
Now
I'm carrying this fairly far before I put any water down.
And I'm just taking and
so I'll be able to modify this now
and to take in come in
and start changing things
with water and then going back over it again.
Okay, so now I'm going to take and go back in with some water
on this.
Now, the first element that I want to
bring out here is that in doing this I'm going to take and put
water on it, put tone on the outside, and I'm going to pull
the line bleeding to the outside so that I can do
what I did to start with when I was demonstrating, to take and
get the sense of the movement. I want to feel the
flow. So I in a way you can characterize this as what I'm
doing is
amplifying -
well, so you can see how that becomes like a
silhouette. I'm making that hip come out farther and then I'm
going to take and pull lines and I will also take and
what I do here is I use sort of a cross hatching with the
water.
So I'm expanding, I'm taking and moving the eye across to the
other side now, so I'm pulling the movement.
Coming through. So this is another element, you can see
see how the eye is beingpulled from here to here. So now I
want to take that same movement now and I'm going to carry it
into the leg and I'm going to take and drop this all in
shadow so it's in creating an atmospheric quality as we take and
go through the drawing. So, but I'm going to cross hatch here.
Now this comes through, I'm going to taking and...
Now, I've gone through, went behind now. I'm pulling that
tone up on the other side here.
So now we're creating a pretty strong movement going
across through the form.
Through.
And doing that I'm going to take and building this out
in this direction. I'm going to take and expand on that movement
and carry it up now into the background. So now I'm
exaggerating or
amplifying.
the whole sense of the movement
So in this drawing there's a little bit more development of
the form than I did on the first one.
And actually I think we could probably even carry that
farther. In other words if I take and come into this I can
take and I'm checking to see if how wet that is to start
with.
And pull lines now.
Notice I start outside the figure.
Now I'm adding lines that are taking and going through.
So
what I'm doing is I'msort of amplifying what I was doing
with the wash with
a crosshatch line. Now
one of the main elements that we're seeing with working with
the wash and the pen is that I'm using
the paper that's around the figure. I'm not just focusing
on
figure itself.
I'm using lines that are taking and expanding and creating a
movement.
Way more than just the figure itself.
Much of what allows me to do this
is to take and the very very fine point that I have on the
pen. Let me also demonstrate this a little bit here is that
another quality of this pen is you see I'm starting on making a
very fine line, but I can also make a very broad line. It has
a very flexible, hasa very very very flexible point that
I can take and build so I can take and
build - also notice that I don't take and treat everything
equally.
In other words, I'm just taking and I'm drawing the figure but I'm
really taking and what I'm drawing is the movement of the
figures more so than say the anatomy per se. So I'm creating
a whole atmosphere equality with just the tones, the
cross-hatching that I'm building. So this becomes a -
it's more it's more than just a drawing of the figure.
bit farther, a little bit farther in terms of the rendering some
of it. So I'm going to take and draw a little bit larger.
But I'm still starting out very very free.
Notice I'm taking, I rehearse the strokes as I'm
doing the drawing.
Okay you can see I started drawing the same way.
I really pretty consistent and this is a point that I try to
get across to
students is that they should make an effort to take and
start each drawing
exactly the same way so that what you're doing then is
you're taking and creating a literally a neural pattern in
your thinking as you're doing the drawing. to drawing
And so that the drawing becomes a bit more
natural and automatic so that you're not having to think
about the drawing. Drawing is a tool. It's not
something that we by itself we use it to take and
communicate, the drawing is as I've said many times is the
interface between your mind
and the world. You're taking and using the drawing as a means of
taking and getting your ideas and your thoughts down.
Over the surface. Notice I'm taking as I'm doing the
drawing, I'm taking in expanding
the volumes. Now one of the things in this drawing I'm
going to take and do a bit more of is taking and
going over the surface of the form. In other words
coming across.
So now I'm really setting my hand down on the paper and I'm
taking and...
Okay, so now I'm going to constantly going over the
surface.
I've been talking to students
as I do a lot of drawing on the iPad.
And but what applies to working with the pen is at the same time
is that
it takes a certain amount of effort and time to take and
develop your skill.
Like these crosshatch lines that I'm putting down,
when I was a student I worked doing comic books.
And I was hired
to take and I worked for somebody else
and
it was totally something new to me. I had never done any
comic books or anything like that and we worked with a
brush, Windsor Newton Series 7
watercolor brush,
double O.
And so the first day
he took and set me down
and gave me a brush,
a jar of water, rags, paper, ink,
then he had me taking and making lines
with the brush.
Well, he had me doing this for eight hours.
Just so I can get up to speed
taking and working with the brush.
And it was taking and putting the brush in
into the ink,
making lines
washing the brush off,
drying it, and doing that again. Did that for
eight hours.
To this day I am pretty good with it if I do say so myself.
With a brush
taking and drying making lines. Okay, so you can see now as
I'm building this I'm being very deliberate, gonna take and feel
the flow.
Now
the more developed the drawing becomes,
the less, again as I mentioned before, the less you actually
see
of all those preliminary lines that I put down, taking and
feeling the gesture.
Now
I'm carrying this fairly far before I put any water down.
And I'm just taking and
so I'll be able to modify this now
and to take in come in
and start changing things
with water and then going back over it again.
Okay, so now I'm going to take and go back in with some water
on this.
Now, the first element that I want to
bring out here is that in doing this I'm going to take and put
water on it, put tone on the outside, and I'm going to pull
the line bleeding to the outside so that I can do
what I did to start with when I was demonstrating, to take and
get the sense of the movement. I want to feel the
flow. So I in a way you can characterize this as what I'm
doing is
amplifying -
well, so you can see how that becomes like a
silhouette. I'm making that hip come out farther and then I'm
going to take and pull lines and I will also take and
what I do here is I use sort of a cross hatching with the
water.
So I'm expanding, I'm taking and moving the eye across to the
other side now, so I'm pulling the movement.
Coming through. So this is another element, you can see
see how the eye is beingpulled from here to here. So now I
want to take that same movement now and I'm going to carry it
into the leg and I'm going to take and drop this all in
shadow so it's in creating an atmospheric quality as we take and
go through the drawing. So, but I'm going to cross hatch here.
Now this comes through, I'm going to taking and...
Now, I've gone through, went behind now. I'm pulling that
tone up on the other side here.
So now we're creating a pretty strong movement going
across through the form.
Through.
And doing that I'm going to take and building this out
in this direction. I'm going to take and expand on that movement
and carry it up now into the background. So now I'm
exaggerating or
amplifying.
the whole sense of the movement
So in this drawing there's a little bit more development of
the form than I did on the first one.
And actually I think we could probably even carry that
farther. In other words if I take and come into this I can
take and I'm checking to see if how wet that is to start
with.
And pull lines now.
Notice I start outside the figure.
Now I'm adding lines that are taking and going through.
So
what I'm doing is I'msort of amplifying what I was doing
with the wash with
a crosshatch line. Now
one of the main elements that we're seeing with working with
the wash and the pen is that I'm using
the paper that's around the figure. I'm not just focusing
on
figure itself.
I'm using lines that are taking and expanding and creating a
movement.
Way more than just the figure itself.
Much of what allows me to do this
is to take and the very very fine point that I have on the
pen. Let me also demonstrate this a little bit here is that
another quality of this pen is you see I'm starting on making a
very fine line, but I can also make a very broad line. It has
a very flexible, hasa very very very flexible point that
I can take and build so I can take and
build - also notice that I don't take and treat everything
equally.
In other words, I'm just taking and I'm drawing the figure but I'm
really taking and what I'm drawing is the movement of the
figures more so than say the anatomy per se. So I'm creating
a whole atmosphere equality with just the tones, the
cross-hatching that I'm building. So this becomes a -
it's more it's more than just a drawing of the figure.
AUTO SCROLL
At this point I'm actually going to take more of a
fragment here so that I can focus more on the idea of the
cross hatching. So I'm drawing a little larger and I'm
basically - well I'll block in very very simply.
Focusing on feeling.
See notice I'm already at this point in the drawing I'm
thinking of the 3D, so over.
Leg is dropped.
Notice that you basically the cylinder.
The cylinder of course is
just a
cross axis approach to drawing, is taking and defining the form of
space.
Here even I'm constantly changing the pose. Instead of the
hand dropping, I'm giving a little bit more gesture.
And it needs to be a little bit farther down.
I have a very light touch. I'm barely touching, I'm keeping my
finger on the paper to take and work as a bridge so that I have
more control.
Like I was saying that it takes time. You have to
give yourself time to take and learn how to
do things.
And so often today, everybody talks about attention deficit.
Well, you have to - you have to pay attention. It takes time.
You have to practice and it does not come quickly.
It takes time, takes time, takes time. Okay. So now I'm going to
take and really work into the cross hatching of
some of these forms now.
Through.
I'm pushing the sides back. So I'm thinking this is basically
the modeling tone now, just taking. station.
Feel the form.
I'm going around, over that surface.
Notice how consistent those lines are that I'm putting
down.
Going over and around the surface.
This is what I'm doing. What I'm doing at one point
that
a lot of people make a mistake when they're drawing with the
pen is that they will have a tendency in - I'll just go over
here -
that
putting a line down
that in a rush they tend to tend to end up
these tails on the end of the line. Notice the way I'm drawing
that you don't see that tail on the end see that that tail on the end
of the line.
That in a sense I'm gonna put the stroke down and now I'm
exaggerating the movement. It's down and up. It's not
sketchy. I'm really being very deliberate and how I take
and put the lines down. So I'm going over the surface.
Yeah, most of it is not my fingers. Notice that it's taking
and drawing my - it's my arm that see my fingers don't really
move that much. The movements are with my arm.
Now as we work
we build up a density
to the line. Now here I want to come back and emphasize the -
coming down and see the corner of the pelvis is in here. So I
want to feel the stretch.
Emphasizing the edge of the iliac crest
and actually feeling the muscles behind now.
So deliberately building the drawing up.
So in doing this then I can take and get much more subtle
now.
There is no individual line is particularly important. It's
the combination of all of the lines.
I'm more concerned with the describing of form than taking
and worrying about a - whether I'm duplicating the light.
Now
in combination of this as you're working
don't necessarily have to use
a
pen to take and start a lot of the tone. You can actually use even
graphite over the pen.
Which is now I'm talking a little different than instead
of starting out thinking of taking and starting out with the
pen -
or with the pencil I mean - we could take and actually come
back and add
pencil tone.
Which sometimes
when you're traveling it's not necessarily convenient a
lot of times to be working with water.
And I'll say the primary ingredient in your drawing is the
coffee.
Good, now
most of you know that I'm probably that I'm a Finn and that
in Finland they are the highest per capita coffee
drinkers in the world.
They drink more coffee per person than anybody.
And so
my coffee consumption is roughly very usually around four or five
five large
mugs of coffee a day.
Now you can see the drawing is taking on a different character
than the others because of the
amount of cross hatching that I'm
actually putting in.
And you can see how you can take and really be very very
subtle
in how you build the form up.
And as I'm going through now, you can see some of these lines
are taking and expanding
on the sense of the movement.
Now we're working across the form.
Building up, feeling the movement here and so here I
would just take that line and I would actually start to
take and carry that line into the shoulder.
Now here I'm going to come in and create
a core reflected light and cast shadow, which of course don't
exist on the model.
So I create a little bit more density of the tone and then
using underneath I'm taking and creating a
cast shadow, which now you can see is giving us a sense of
reflected light. It's very subtle. It doesn't take very
much to take and do that. And now I'm gonna take and drop this an almond were taken drop this
whole area. Let's just take and
pull into the armpit there,
feel these forms.
So I'm adding core in there and we can pull the arm out from here.
I want to take and drop all of this now into basically shadow
and actually carry this idea of the core around a
little bit more.
And then cast a shadow over the surface.
And I'm going to drop - do this by dropping this whole area now
in shadow.
Be consistent. I'm taking and the
giving this a stronger light source, and we'll throw in a
bit of a shadow here also.
I'm taking and I want to pull the lines
coming across.
I say I changed the angle of the hand. Just give it a little
bit more.
Artists that you can look at who really did some great stuff
with pencil of course, there's Michelangelo. the Michelangelo's
Artist by the name of Guercino and then,
you know Adolph Menzel.
Not so much with the pen he was with the carpenter's pencil, it with the Carpenter's pencil,
but then Zorn,
the Swedish artist did great stuff
working with a pen. Did a lot of etching.
I actually took and
did copies after Rembrandt's etchings
as a way of developing my skill with the pen.
And I have done a little bit of etching.
Notice that I've sort of raised the shoulder up
and tilting the head down. It gives just a little bit more
of a feeling to it.
The student should feel free to take and change the pose in a
drawing.
The model - the minute the model gets up or the drawing
is done. The model's gone. All you have left is you drawing.
So it's the drawing that counts, not the particularly the pose
of that model.
Although when I'm critiquing drawings, I'm always good
taking them
in terms of the student,
capture the action of the gesture.
Now you notice I haven't used the wash at all.
And so the whole point here. Now I'm going to take and
add tone to this.
But I'm going to like I was mentioning sometimes you can
take and use
a pencil or graphite equally well and not just the
water.
Okay, so this is a 2B pencil.
So I can take and come into this now
and
create
an atmospheric tone.
This gives it a little different quality, a
different look
that you can build on.
You could also come into this with a stump
and push it around.
It gives a very subtle play. It's a little bit,
again, a little less intimidating than taking and
coming in with the water and but another advantage of say
working with say the graphite like this
is that you can of course you can come in and erase
some of the tone.
So now I'm doing the same thing as I was doing before, going
over and around form, except it's a little subtler.
A drawing takes on a much more polished
look.
Emphasizing the core using this cast shadow going over.
I should take and draw a little bit more of this foot here.
Now, I've gone through the drawing now
several different times, several different ways. Now, I'm going
to come back in with the pen again. And I'm going to again
the idea is to emphasize and to get this action of the gesture.
So what I'm doing now is I'm going to take and
use the boldness that you can make with this Namiki and
you see how I'm emphasizing that line. that why
Through.
Coming across.
Now here I'm doing lines that are like I'm hitting the wrist.
Okay, and I'm getting a line here. So these lines now not
necessarily always on the figure and they sometimes even
outside of the figure.
Okay.
I think that's enough for that.
fragment here so that I can focus more on the idea of the
cross hatching. So I'm drawing a little larger and I'm
basically - well I'll block in very very simply.
Focusing on feeling.
See notice I'm already at this point in the drawing I'm
thinking of the 3D, so over.
Leg is dropped.
Notice that you basically the cylinder.
The cylinder of course is
just a
cross axis approach to drawing, is taking and defining the form of
space.
Here even I'm constantly changing the pose. Instead of the
hand dropping, I'm giving a little bit more gesture.
And it needs to be a little bit farther down.
I have a very light touch. I'm barely touching, I'm keeping my
finger on the paper to take and work as a bridge so that I have
more control.
Like I was saying that it takes time. You have to
give yourself time to take and learn how to
do things.
And so often today, everybody talks about attention deficit.
Well, you have to - you have to pay attention. It takes time.
You have to practice and it does not come quickly.
It takes time, takes time, takes time. Okay. So now I'm going to
take and really work into the cross hatching of
some of these forms now.
Through.
I'm pushing the sides back. So I'm thinking this is basically
the modeling tone now, just taking. station.
Feel the form.
I'm going around, over that surface.
Notice how consistent those lines are that I'm putting
down.
Going over and around the surface.
This is what I'm doing. What I'm doing at one point
that
a lot of people make a mistake when they're drawing with the
pen is that they will have a tendency in - I'll just go over
here -
that
putting a line down
that in a rush they tend to tend to end up
these tails on the end of the line. Notice the way I'm drawing
that you don't see that tail on the end see that that tail on the end
of the line.
That in a sense I'm gonna put the stroke down and now I'm
exaggerating the movement. It's down and up. It's not
sketchy. I'm really being very deliberate and how I take
and put the lines down. So I'm going over the surface.
Yeah, most of it is not my fingers. Notice that it's taking
and drawing my - it's my arm that see my fingers don't really
move that much. The movements are with my arm.
Now as we work
we build up a density
to the line. Now here I want to come back and emphasize the -
coming down and see the corner of the pelvis is in here. So I
want to feel the stretch.
Emphasizing the edge of the iliac crest
and actually feeling the muscles behind now.
So deliberately building the drawing up.
So in doing this then I can take and get much more subtle
now.
There is no individual line is particularly important. It's
the combination of all of the lines.
I'm more concerned with the describing of form than taking
and worrying about a - whether I'm duplicating the light.
Now
in combination of this as you're working
don't necessarily have to use
a
pen to take and start a lot of the tone. You can actually use even
graphite over the pen.
Which is now I'm talking a little different than instead
of starting out thinking of taking and starting out with the
pen -
or with the pencil I mean - we could take and actually come
back and add
pencil tone.
Which sometimes
when you're traveling it's not necessarily convenient a
lot of times to be working with water.
And I'll say the primary ingredient in your drawing is the
coffee.
Good, now
most of you know that I'm probably that I'm a Finn and that
in Finland they are the highest per capita coffee
drinkers in the world.
They drink more coffee per person than anybody.
And so
my coffee consumption is roughly very usually around four or five
five large
mugs of coffee a day.
Now you can see the drawing is taking on a different character
than the others because of the
amount of cross hatching that I'm
actually putting in.
And you can see how you can take and really be very very
subtle
in how you build the form up.
And as I'm going through now, you can see some of these lines
are taking and expanding
on the sense of the movement.
Now we're working across the form.
Building up, feeling the movement here and so here I
would just take that line and I would actually start to
take and carry that line into the shoulder.
Now here I'm going to come in and create
a core reflected light and cast shadow, which of course don't
exist on the model.
So I create a little bit more density of the tone and then
using underneath I'm taking and creating a
cast shadow, which now you can see is giving us a sense of
reflected light. It's very subtle. It doesn't take very
much to take and do that. And now I'm gonna take and drop this an almond were taken drop this
whole area. Let's just take and
pull into the armpit there,
feel these forms.
So I'm adding core in there and we can pull the arm out from here.
I want to take and drop all of this now into basically shadow
and actually carry this idea of the core around a
little bit more.
And then cast a shadow over the surface.
And I'm going to drop - do this by dropping this whole area now
in shadow.
Be consistent. I'm taking and the
giving this a stronger light source, and we'll throw in a
bit of a shadow here also.
I'm taking and I want to pull the lines
coming across.
I say I changed the angle of the hand. Just give it a little
bit more.
Artists that you can look at who really did some great stuff
with pencil of course, there's Michelangelo. the Michelangelo's
Artist by the name of Guercino and then,
you know Adolph Menzel.
Not so much with the pen he was with the carpenter's pencil, it with the Carpenter's pencil,
but then Zorn,
the Swedish artist did great stuff
working with a pen. Did a lot of etching.
I actually took and
did copies after Rembrandt's etchings
as a way of developing my skill with the pen.
And I have done a little bit of etching.
Notice that I've sort of raised the shoulder up
and tilting the head down. It gives just a little bit more
of a feeling to it.
The student should feel free to take and change the pose in a
drawing.
The model - the minute the model gets up or the drawing
is done. The model's gone. All you have left is you drawing.
So it's the drawing that counts, not the particularly the pose
of that model.
Although when I'm critiquing drawings, I'm always good
taking them
in terms of the student,
capture the action of the gesture.
Now you notice I haven't used the wash at all.
And so the whole point here. Now I'm going to take and
add tone to this.
But I'm going to like I was mentioning sometimes you can
take and use
a pencil or graphite equally well and not just the
water.
Okay, so this is a 2B pencil.
So I can take and come into this now
and
create
an atmospheric tone.
This gives it a little different quality, a
different look
that you can build on.
You could also come into this with a stump
and push it around.
It gives a very subtle play. It's a little bit,
again, a little less intimidating than taking and
coming in with the water and but another advantage of say
working with say the graphite like this
is that you can of course you can come in and erase
some of the tone.
So now I'm doing the same thing as I was doing before, going
over and around form, except it's a little subtler.
A drawing takes on a much more polished
look.
Emphasizing the core using this cast shadow going over.
I should take and draw a little bit more of this foot here.
Now, I've gone through the drawing now
several different times, several different ways. Now, I'm going
to come back in with the pen again. And I'm going to again
the idea is to emphasize and to get this action of the gesture.
So what I'm doing now is I'm going to take and
use the boldness that you can make with this Namiki and
you see how I'm emphasizing that line. that why
Through.
Coming across.
Now here I'm doing lines that are like I'm hitting the wrist.
Okay, and I'm getting a line here. So these lines now not
necessarily always on the figure and they sometimes even
outside of the figure.
Okay.
I think that's enough for that.
AUTO SCROLL
Okay. Now in this pose a little different again, I'm going to
be a bit more bold in taking and getting the thing. The pose is
sort of a fun pose and be a little bit more dramatic.
So I'm taking and pushing.
Feel the shoulder pushing up.
Scapula. Really feel the way the body's going down. bodies going down.
I'm taking and pushing.
Notice that I jump right away into
some of the forms without having gone through the whole
thing with my gesture.
You know with 65-70 years of experience you can start doing
that.
By the way, I'm taking and pushing
through.
The pen is actually probably my preferred tool.
I really enjoy drawing with the pen. I like the look
and it helps to create a little bit more sense of
spontaneity in your drawing.
And it's definitely much more - creates much more of the
individual artist's look.
Now actually as a drawing
as much as I've done or little as I've done here, this could
be rather -
it's going to be actually left alone as it is without doing
any more.
As it's fairly complete.
And the process
it's a
quick sketch, gesture, thing. It has the
flow to the thing.
So actually I think maybe I'll take and leave this one alone.
That's a really good example of just a very very direct quick
drawing.
And possibly just emphasize a few things. Push
the rib cage,
feel
pull across the form,
tension in the spine of the back,
pull the rib cage.
Okay, let's leave that one alone. Let's do another one.
be a bit more bold in taking and getting the thing. The pose is
sort of a fun pose and be a little bit more dramatic.
So I'm taking and pushing.
Feel the shoulder pushing up.
Scapula. Really feel the way the body's going down. bodies going down.
I'm taking and pushing.
Notice that I jump right away into
some of the forms without having gone through the whole
thing with my gesture.
You know with 65-70 years of experience you can start doing
that.
By the way, I'm taking and pushing
through.
The pen is actually probably my preferred tool.
I really enjoy drawing with the pen. I like the look
and it helps to create a little bit more sense of
spontaneity in your drawing.
And it's definitely much more - creates much more of the
individual artist's look.
Now actually as a drawing
as much as I've done or little as I've done here, this could
be rather -
it's going to be actually left alone as it is without doing
any more.
As it's fairly complete.
And the process
it's a
quick sketch, gesture, thing. It has the
flow to the thing.
So actually I think maybe I'll take and leave this one alone.
That's a really good example of just a very very direct quick
drawing.
And possibly just emphasize a few things. Push
the rib cage,
feel
pull across the form,
tension in the spine of the back,
pull the rib cage.
Okay, let's leave that one alone. Let's do another one.
AUTO SCROLL
In this pose the pose itself has an incredible natural
rhythm to it. So as I approach this then
I really starting right away with the idea of the rhythm.
Coming through.
So you can see that there's a natural pattern in the movement
itself. That is really almost a Baroque.
Flow.
And so I will take and actually push that, make it even a bit
more.
Now, I'm doing this, coming through, feeling this movement.
I'm constantly thinkingpit of the neck, feel the bit of the neck feel the
ribcage. Coming through.
Now sharing across the lines, feeling the
stretch.
Across.
And she's twisting. So right away I'm taking and pulling
through, thinking of these lines.
So I'm going beyond what she's actually doing now, trying to
make the eye flow.
Across and around,
going over the surface
pull.
Now other foot I'm going to turn because
going straight down, that's incredibly awkward looking so
I'm pulling. This is maybe awkward but in a more of a
stylized way.
So I'm pulling flow.
Coming through.
Reminds me of almost sort of a teenage
type of gesture.
So notice I'm coming through and actually drawing bones.
Really focusing on anatomy.
Okay now that we created this sort of a strong movement,
I want to take and pull
into that
and I'm going to take and use the wash again. So we get a
play.
Now, I'm really this is a movement.
Bringing tones over and around. You look at artists, look at
Tiepolo, look at
Guercino.
Look at Parmigianino.
These are all artists that were incredibly good with pen
and also worked a lot with the using atmospheric elements in
the drawing.
Many of the artists
took and in doing the preliminary drawings, doing
their
rough thumbnail stuff,
worked with the - work with the pen because of its directness
and spontaneity and the fact that they could use
a wash or something to get large visual effects
quickly in the drawing.
Now.
Okay. Now I'm going to expand on this idea of the rhythm.
I'm pushing the lines bit more. I'm going to use
lines going across, like I have been in some of the other
drawings now.
They also become a
sense of an atmospheric quality.
And it's also in a sense like I'm almost taking and drawing
the flow of the air
over the figure.
So remember that it's the lines that you put down
obviously of what your viewer sees.
So I'm taking and using lines to take and expand on the idea of
the gesture. Now there it's a little bit too programmatic.
There is a little too obvious. I need to be a little subtler.
So I'm taking an expanding to take an
again downplay that movement that I had so it becomes not
quite so obvious.
But yet, I don't - I want to keep the sense of what's
going on. So you're feeling the air moving, feeling the air move him to
literally drawing the flow of air over the figure.
Look at the drawings of Pontormo turmoil.
and you will see much the same idea of you start looking at
some of the tones in the backgrounds of the drawings.
And of course, you see the same idea in
Rubens.
So now
the amount of lines that I put down in combination with the wash,
I've almost totally obliterated the
contour.
So now I'm going to go back in and emphasize.
So this is just now going to become part of -
the paper is wet. So I'm picking up a bit.
I mentioned earlier that when it is wet the ink will take of these wet the ink will take
and become a bit darker.
Okay. Now there's two extremes to approaches and doing the
drawing.
And
getting strong variety now
how you can approach
the pen I think is great to work with and the Namiki
is marvelous.
It rarely - or I should say that it is so consistent, it's so
reliable
in how it takes
and works,
now you can see I'm expanding on that whole expanding on that whole the
movement and so I started out with the idea of the pose
itself. Now since she's doing all of this, I would even then
start to suggest maybe something
just a bit opposite.
rhythm to it. So as I approach this then
I really starting right away with the idea of the rhythm.
Coming through.
So you can see that there's a natural pattern in the movement
itself. That is really almost a Baroque.
Flow.
And so I will take and actually push that, make it even a bit
more.
Now, I'm doing this, coming through, feeling this movement.
I'm constantly thinkingpit of the neck, feel the bit of the neck feel the
ribcage. Coming through.
Now sharing across the lines, feeling the
stretch.
Across.
And she's twisting. So right away I'm taking and pulling
through, thinking of these lines.
So I'm going beyond what she's actually doing now, trying to
make the eye flow.
Across and around,
going over the surface
pull.
Now other foot I'm going to turn because
going straight down, that's incredibly awkward looking so
I'm pulling. This is maybe awkward but in a more of a
stylized way.
So I'm pulling flow.
Coming through.
Reminds me of almost sort of a teenage
type of gesture.
So notice I'm coming through and actually drawing bones.
Really focusing on anatomy.
Okay now that we created this sort of a strong movement,
I want to take and pull
into that
and I'm going to take and use the wash again. So we get a
play.
Now, I'm really this is a movement.
Bringing tones over and around. You look at artists, look at
Tiepolo, look at
Guercino.
Look at Parmigianino.
These are all artists that were incredibly good with pen
and also worked a lot with the using atmospheric elements in
the drawing.
Many of the artists
took and in doing the preliminary drawings, doing
their
rough thumbnail stuff,
worked with the - work with the pen because of its directness
and spontaneity and the fact that they could use
a wash or something to get large visual effects
quickly in the drawing.
Now.
Okay. Now I'm going to expand on this idea of the rhythm.
I'm pushing the lines bit more. I'm going to use
lines going across, like I have been in some of the other
drawings now.
They also become a
sense of an atmospheric quality.
And it's also in a sense like I'm almost taking and drawing
the flow of the air
over the figure.
So remember that it's the lines that you put down
obviously of what your viewer sees.
So I'm taking and using lines to take and expand on the idea of
the gesture. Now there it's a little bit too programmatic.
There is a little too obvious. I need to be a little subtler.
So I'm taking an expanding to take an
again downplay that movement that I had so it becomes not
quite so obvious.
But yet, I don't - I want to keep the sense of what's
going on. So you're feeling the air moving, feeling the air move him to
literally drawing the flow of air over the figure.
Look at the drawings of Pontormo turmoil.
and you will see much the same idea of you start looking at
some of the tones in the backgrounds of the drawings.
And of course, you see the same idea in
Rubens.
So now
the amount of lines that I put down in combination with the wash,
I've almost totally obliterated the
contour.
So now I'm going to go back in and emphasize.
So this is just now going to become part of -
the paper is wet. So I'm picking up a bit.
I mentioned earlier that when it is wet the ink will take of these wet the ink will take
and become a bit darker.
Okay. Now there's two extremes to approaches and doing the
drawing.
And
getting strong variety now
how you can approach
the pen I think is great to work with and the Namiki
is marvelous.
It rarely - or I should say that it is so consistent, it's so
reliable
in how it takes
and works,
now you can see I'm expanding on that whole expanding on that whole the
movement and so I started out with the idea of the pose
itself. Now since she's doing all of this, I would even then
start to suggest maybe something
just a bit opposite.
AUTO SCROLL
Now here I'm going to take and I'm looking at the poste. There's all to look at the poster. So all
kinds of things that are going on. So going right back
now to taking and doing
a first - now this time I'm taking and approaching the
drawing as an exploratory thing, gesture, like I normally do but
I'm trying to see, trying to see how the parts taken and actually
flow together.
So, in other words,
coming across. Now
here I feel the twisting
so I'm really taking and analyzing now. Coming across,
feel the buttocks back a bit more.
So I'm discovering the pose with discovering the pose with with
the lines that I'm drawing.
I'm not trying to copy it. I'm trying to understand it.
Okay,
Going through, coming around, as I'm doing this I can well as I'm doing this I can
see that this the shoulder is up high. This one's low, the
arm coming back down.
Okay, cuefeelthe the back leg taking coming through and maybe
I'll take and feel the flow
here.
Okay, the arm, really interesting pose. really interesting pose.
Now one of the things that I would take and do here as I look at
the pose, she's taking and
tilting towards us in the top, doing this.
And then she's taking and twisting so that we're seeing the
back
in here this way, so we're going across. So I'm going to
take and now tilt the head,
going back in the opposite direction now, so that we get
the play of these elements that are taking and all working sort
of in opposition. So now so I'm doing that. So right away, then
I'm going to take and tilt, so I'm going from the line from the
ear to the brow, this coming down. I'm changing the
direction
of the head. So I'm feeling the stretch coming across, we can
feel the hand now is taking and coming up.
The other one is taking coming down.
Across, going
over.
And feel the stretch.
Okay now, really this showing the tilt
is taking, we're talking symmetry. So that's where it's
important to be really conscious of the symmetry of a
thing because that's so much of what is we get the
action. We really feel the angle
that's taking place. And so at the same time I'm going to take
and emphasize the rib cage. Over here. Then we're stretching
across. So now we're getting a pull of the stuff coming
across over the surface.
And so that really becomes pretty strong here. Then we see
where the corner of the pelvis is right here, pushing down, and
then we're going up over,
coming around.
And along with that I'm going to take and emphasize maybe the
leg going in a little bit. So in other words I'm getting
just by taking and going across the form and then I'm coming
through. It's actually what sort of what's happening except
that it's not very obvious. So I take and I'm coming in and just
by using the lines going over the surface in the direction
makes it more obvious and hitting the corners the back of
the leg through here and here. Now I come back and emphasize
the compression of the leg, pushing up, across the
dimples of the back of the pelvis, going through. It's
on an angle. This is like the box now.
Coming through.
Now I'm using bolder lines.
Through.
one thing should be pretty obvious now in these series of
classes is that
the anatomy is there but the anatomy is not the
important thing.
It's the overall dynamics of the drawing. Not the anatomy.
Anatomy is the cliche is there are two things, that if
you know them
they're not important at all. If you don't know them they're very
critical and that is perspective and anatomy.
In other words you need to know it but once you need to know it but once you
know it it's not that important.
It's how you used it that really counts.
Through.
So trying to get the head turned down, angle. I'm gonna use the eyes,
cross the brow, through, and even in the mouth.
So just keeping things consistent.
And we have the hand coming through.
Now here I'm taking and this whole area of tone in
terms of the shadows and stuff are really quite nice.
So as I'm looking at this and I'm taking blocking in
shape, go through the volume.
through the corners,
arm, go over the surface.
Pull
in.
Now she's really - we got that arm coming down, all of this is
in shadow up there. I'm going to use the wash to take and
come through with that.
Coming in, you feel the pull coming out, spine behind.
The hair's lifting up. Got this wrist here I want to
take and give the direction of that wrist by going across it
is. So it's like a rectangular type of shape.
And then we're going in,
feel the pecs pulling up over.
Here I'm conscious of the way the gastrocnemius fits in
between the tendons of the upper leg there.
Feel over the surface.
Picking up the soleus and the
Achilles tendon now really taking, feeling the arch
of that foot
So this takes and has a lot of elements here now that we can
use the wash to take and
follow through with, So one, the whole flow going over, and then
taking, bringing the atmosphere behind, through. So I'm going to
start with the dropping the shadow area in here, which I
think is actually very nice.
So this is a case where I'm really looking at the model and
seeing that I can use the tones that I see here, and I'm going
to take this, pull this a bit farther out.
So that we now can take and come down to the side.
Now since I've got her looking down.
So I've got the head tilted in.
Pulling tone in between.
Shape.
Now I want to pull this tone coming through,
pull it out from underneath the arm,
comeing in, now all of this is coming across
surface
and
through. Come around underneath here. I'm a treating this like
the side of a box.
Coming through.
Pull the tone behind, carrying through.
Atmosphere now and we can use the light
that's coming through.
Coming across.
So that gives a pretty strong flow and movement to
the figure. Now I'm going to go back in with the pin then and
I'll reinforce this.
And first thing I want to reinforce is the pelvis pushing
up
into here
Really feel that compression.
Now through,
over,
we can feel the lines. Now, I want to feel this flow the
movement coming across.
Through.
That cross-hatche tone just gives it a little
more texture to the drawing
besides being a tone but it's just taking and... just taking in.
One of the things -
part of the reason that I take and I
use
basic approaches we've been dealing with today is that I
just personally like the look.
People ask well, why do I use this color or that color? In the
end it's because I just like it.
And so much of what we do is a matter of personal taste.
Do you like it, you know, type of thing and so that I am doing
the drawing then I'm going over and around the surface, gonna feel
this compression now dropping down.
I'm hitting the hand of purpose there. Taking
and dropping this into shadow.
And come down.
Now I'm going to take - I like the idea like for her hair.
Okay, I - even if it wasn't that way I would be
doing it to take and just gives it a little bit more of a sense
of spontaneity. When you take and have stray hairs you have
things that it's not quite so rigid and has a little freer
feeling to it. And I'm constantly taking and doing
what makes the drawing, whatever makes the drawing feel a little
bit freer and loose I will take and do rather than trying to
emphasize any kind of a rigidity to the drawing. I try
to work for the flow, the movement, and it's all
about movement.
We can take cast shadow
going to that surface.
Coming through.
Pull.
So now you can see the emphasis and I got to make - I night and I got to make do I
have to make this even more clear that I started out with
the idea that this is the ribcage pushing cage machine.
down. So you feel that sense of compression. compression.
And then the stretching across, in other words this
I'm pulling in,
.over
Feeling these forms wrapping around.
And then so as I'm going into here, it's the cylinder
going back down and this leg now becomes
side of a box.
So
you can see how in
a sense how schematic, how conceptual, actually the drawing
becomes as I'm taking and designing it. So I'm thinking
this is going in
the next thing is going out.
Then we're taking and twisting and so this is taking and being
pushed out that way.
So it's a simple play of opposites as we take and work
through the drawing. And so that that becomes just -
the idea of using opposites becomes a primary tool that we
use in taking and designing. And then these simple things like
symmetry, taking working across the form see the symmetry,
just again, drawing the box,
feeling the compression, thing pushes up. Another thing
is taking and dropping.
So it's the whole process of building the drawing
but it's an intellectual process that we go through in
doing the drawing.
So this has been a good
play in the thing. Now next week we're going to the next week we're going to
take and again use a different material. And we're going to have
a male model. And so I'm going to be focusing on using like a
compressed charcoal, a lot bolder, more direct approach to
taking and doing the drawing.
kinds of things that are going on. So going right back
now to taking and doing
a first - now this time I'm taking and approaching the
drawing as an exploratory thing, gesture, like I normally do but
I'm trying to see, trying to see how the parts taken and actually
flow together.
So, in other words,
coming across. Now
here I feel the twisting
so I'm really taking and analyzing now. Coming across,
feel the buttocks back a bit more.
So I'm discovering the pose with discovering the pose with with
the lines that I'm drawing.
I'm not trying to copy it. I'm trying to understand it.
Okay,
Going through, coming around, as I'm doing this I can well as I'm doing this I can
see that this the shoulder is up high. This one's low, the
arm coming back down.
Okay, cuefeelthe the back leg taking coming through and maybe
I'll take and feel the flow
here.
Okay, the arm, really interesting pose. really interesting pose.
Now one of the things that I would take and do here as I look at
the pose, she's taking and
tilting towards us in the top, doing this.
And then she's taking and twisting so that we're seeing the
back
in here this way, so we're going across. So I'm going to
take and now tilt the head,
going back in the opposite direction now, so that we get
the play of these elements that are taking and all working sort
of in opposition. So now so I'm doing that. So right away, then
I'm going to take and tilt, so I'm going from the line from the
ear to the brow, this coming down. I'm changing the
direction
of the head. So I'm feeling the stretch coming across, we can
feel the hand now is taking and coming up.
The other one is taking coming down.
Across, going
over.
And feel the stretch.
Okay now, really this showing the tilt
is taking, we're talking symmetry. So that's where it's
important to be really conscious of the symmetry of a
thing because that's so much of what is we get the
action. We really feel the angle
that's taking place. And so at the same time I'm going to take
and emphasize the rib cage. Over here. Then we're stretching
across. So now we're getting a pull of the stuff coming
across over the surface.
And so that really becomes pretty strong here. Then we see
where the corner of the pelvis is right here, pushing down, and
then we're going up over,
coming around.
And along with that I'm going to take and emphasize maybe the
leg going in a little bit. So in other words I'm getting
just by taking and going across the form and then I'm coming
through. It's actually what sort of what's happening except
that it's not very obvious. So I take and I'm coming in and just
by using the lines going over the surface in the direction
makes it more obvious and hitting the corners the back of
the leg through here and here. Now I come back and emphasize
the compression of the leg, pushing up, across the
dimples of the back of the pelvis, going through. It's
on an angle. This is like the box now.
Coming through.
Now I'm using bolder lines.
Through.
one thing should be pretty obvious now in these series of
classes is that
the anatomy is there but the anatomy is not the
important thing.
It's the overall dynamics of the drawing. Not the anatomy.
Anatomy is the cliche is there are two things, that if
you know them
they're not important at all. If you don't know them they're very
critical and that is perspective and anatomy.
In other words you need to know it but once you need to know it but once you
know it it's not that important.
It's how you used it that really counts.
Through.
So trying to get the head turned down, angle. I'm gonna use the eyes,
cross the brow, through, and even in the mouth.
So just keeping things consistent.
And we have the hand coming through.
Now here I'm taking and this whole area of tone in
terms of the shadows and stuff are really quite nice.
So as I'm looking at this and I'm taking blocking in
shape, go through the volume.
through the corners,
arm, go over the surface.
Pull
in.
Now she's really - we got that arm coming down, all of this is
in shadow up there. I'm going to use the wash to take and
come through with that.
Coming in, you feel the pull coming out, spine behind.
The hair's lifting up. Got this wrist here I want to
take and give the direction of that wrist by going across it
is. So it's like a rectangular type of shape.
And then we're going in,
feel the pecs pulling up over.
Here I'm conscious of the way the gastrocnemius fits in
between the tendons of the upper leg there.
Feel over the surface.
Picking up the soleus and the
Achilles tendon now really taking, feeling the arch
of that foot
So this takes and has a lot of elements here now that we can
use the wash to take and
follow through with, So one, the whole flow going over, and then
taking, bringing the atmosphere behind, through. So I'm going to
start with the dropping the shadow area in here, which I
think is actually very nice.
So this is a case where I'm really looking at the model and
seeing that I can use the tones that I see here, and I'm going
to take this, pull this a bit farther out.
So that we now can take and come down to the side.
Now since I've got her looking down.
So I've got the head tilted in.
Pulling tone in between.
Shape.
Now I want to pull this tone coming through,
pull it out from underneath the arm,
comeing in, now all of this is coming across
surface
and
through. Come around underneath here. I'm a treating this like
the side of a box.
Coming through.
Pull the tone behind, carrying through.
Atmosphere now and we can use the light
that's coming through.
Coming across.
So that gives a pretty strong flow and movement to
the figure. Now I'm going to go back in with the pin then and
I'll reinforce this.
And first thing I want to reinforce is the pelvis pushing
up
into here
Really feel that compression.
Now through,
over,
we can feel the lines. Now, I want to feel this flow the
movement coming across.
Through.
That cross-hatche tone just gives it a little
more texture to the drawing
besides being a tone but it's just taking and... just taking in.
One of the things -
part of the reason that I take and I
use
basic approaches we've been dealing with today is that I
just personally like the look.
People ask well, why do I use this color or that color? In the
end it's because I just like it.
And so much of what we do is a matter of personal taste.
Do you like it, you know, type of thing and so that I am doing
the drawing then I'm going over and around the surface, gonna feel
this compression now dropping down.
I'm hitting the hand of purpose there. Taking
and dropping this into shadow.
And come down.
Now I'm going to take - I like the idea like for her hair.
Okay, I - even if it wasn't that way I would be
doing it to take and just gives it a little bit more of a sense
of spontaneity. When you take and have stray hairs you have
things that it's not quite so rigid and has a little freer
feeling to it. And I'm constantly taking and doing
what makes the drawing, whatever makes the drawing feel a little
bit freer and loose I will take and do rather than trying to
emphasize any kind of a rigidity to the drawing. I try
to work for the flow, the movement, and it's all
about movement.
We can take cast shadow
going to that surface.
Coming through.
Pull.
So now you can see the emphasis and I got to make - I night and I got to make do I
have to make this even more clear that I started out with
the idea that this is the ribcage pushing cage machine.
down. So you feel that sense of compression. compression.
And then the stretching across, in other words this
I'm pulling in,
.over
Feeling these forms wrapping around.
And then so as I'm going into here, it's the cylinder
going back down and this leg now becomes
side of a box.
So
you can see how in
a sense how schematic, how conceptual, actually the drawing
becomes as I'm taking and designing it. So I'm thinking
this is going in
the next thing is going out.
Then we're taking and twisting and so this is taking and being
pushed out that way.
So it's a simple play of opposites as we take and work
through the drawing. And so that that becomes just -
the idea of using opposites becomes a primary tool that we
use in taking and designing. And then these simple things like
symmetry, taking working across the form see the symmetry,
just again, drawing the box,
feeling the compression, thing pushes up. Another thing
is taking and dropping.
So it's the whole process of building the drawing
but it's an intellectual process that we go through in
doing the drawing.
So this has been a good
play in the thing. Now next week we're going to the next week we're going to
take and again use a different material. And we're going to have
a male model. And so I'm going to be focusing on using like a
compressed charcoal, a lot bolder, more direct approach to
taking and doing the drawing.
AUTO SCROLL
Okay. This is a good session. The pen is challenging, takes
practice. And so you need to take and work with ait lot. I
carry it with me all the time. And whether whatever
I'm gonna draw. Even drawing with the ballpoint.
It's really one way of going but just constantly drawing
with line. For instance I draw on my iPad, I'm doing that all the time,
same thing. Okay next week a little different.
Okay, I want you to work with say a compressed
charcoal.
Like a 6B, something like that. 6B, 4B charcoal. Also, I'm
going to take and introduce a little bit maybe working with
the carpenter's pencil. Again that'll be very very soft
pencil, 6B.
Maybe even an 8B. I'm not sure if they make 8B, I think they do.
Anyway, but it'll be a very very very very soft material
working with a male model. So they're pushing a lot more
boldness into the drawing but
next session new challenge. Each week new
challenge. This has been fun. Okay, so but we got a lot done. Take your
time, go slow, build up the drawings, but it takes a
lot of practice. It takes a lot of practice. Okay until
next week then. Take care.
practice. And so you need to take and work with ait lot. I
carry it with me all the time. And whether whatever
I'm gonna draw. Even drawing with the ballpoint.
It's really one way of going but just constantly drawing
with line. For instance I draw on my iPad, I'm doing that all the time,
same thing. Okay next week a little different.
Okay, I want you to work with say a compressed
charcoal.
Like a 6B, something like that. 6B, 4B charcoal. Also, I'm
going to take and introduce a little bit maybe working with
the carpenter's pencil. Again that'll be very very soft
pencil, 6B.
Maybe even an 8B. I'm not sure if they make 8B, I think they do.
Anyway, but it'll be a very very very very soft material
working with a male model. So they're pushing a lot more
boldness into the drawing but
next session new challenge. Each week new
challenge. This has been fun. Okay, so but we got a lot done. Take your
time, go slow, build up the drawings, but it takes a
lot of practice. It takes a lot of practice. Okay until
next week then. Take care.
Reference Images
Free to try
-
1. Introduction
34sNow playing...
Watch the whole lesson with a subscription
-
2. Render with Wash
22m 1s -
3. Using Wash to Push Gesture
16m 0s -
4. Cross Hatching with Pen
27m 50s -
5. Lines Without Wash
5m 30s -
6. Contrapposto Pose
15m 10s -
7. Retaining the Structure
19m 18s -
8. Outro
1m 31s
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