Part of the class is of course, we're dealing with different
techniques. As I mentioned last week, we're going to take and
be working with a water-soluble pencils. So this is I'm pimple pencils. So this is I'm
drawing working with a Faber-Castell.
And this is the pencil, it's a it's called an Albrecht Durer.
I'll just put down Durer.
Now, there's another pencil I use quite a bit too, which is
really
that seems, having said that
I guess I don't have the other one with me. So this is all I'm
going to be working with and I use a couple different colors.
And water brush. So these are the basic tools that
I'm going to be taking working with. I may come in and
actually use a pen also, but I'll bring it up if I do.
The other half of the class is really taking - in the last
session we were working with of course the
charcoal and we're talking about how forms, bring forms from
the outside into the inside and we're creating a
movement. First we we're talking about moving, creating a
composition, making the lines, making the forms take
and assist us in seeing the action and then coming from the
outside. I was using doing the same thing and so everything we
do is part of is creating and working with the action of
the gesture of the figures. So if I start out with first the
idea
of leading the eye, rhythm,
movement.
Now, I can take and work with this and taking and continuing
this by
first taking and being able to amplify that with just using
the wash. So as I come through,
I'm taking and pulling through I'm amplifying the actual
action by taking and pulling with the wash.
Okay now at the same time I can take and use -
I'm just adding some more pencil here so that I can take
and play with this a little bit more. I can use the tone to
take and emphasize the three dimensional qualities. So
taking, coming through. If I bring in since the atmosphere.
Now we can feel that the space, form is coming across, going
through, coming around, and we also feel.
There's air coming through and going around the
forms
So
we're taking and pushing using tone as an
atmospheric thing. Okay. Now there's a little technical aspect to
this. You can take
and draw a line.
I can take and make that line bleed from whichever side. I
want by the way I work with the water. If I start out here,
just applying water, then I can take and come up to it and I
can get a gradation coming off to one side or I can just take
and bleed
to the other side. So in other words you can pick up, you can make
your tone go to whichever side of that line that you want. So
that was pretty light. I'm going to take and do the same
thing with a
black.
That's a pretty heavy line. So I just was doing this again so
that you can see the idea a little bit more. So now come
through here I'm adding water and then I'm bleeding into the
water. So I'm getting a gradated tone with that. Now I
can come back to the other side. I'm not putting any water
down to start with. I'm just taking and leading the line, but
I'm coming right up to the line and then push things now. So
you have to you have to become familiar with your tools. You got
to play with them a little bit. Okay. So now
as we work with the figure then -
now as I'm working with the model I'm going to take and actually
go through using several different colors here.
The idea is that you don't just do a drawing and then add water.
You take and work with the things together. So we take and we
come through.
And I'll start out with a very very very simple
tone, basically getting the action, the gesture, thinking of
the gesture coming through.
Feeling the flow
over the surface.
Now, next thing I'm coming in is I'm taking and I'm trying
now I'm
taking and drawing very lightly because I want the wash to be
very like to start. So this is pretty pretty light. So now I'm
going to come in
and
a little bit more careful construction.
Thinking of simple volumes,
over the surface of the form.
So I'm just in a sense taking and flushing it out a bit.
Now as I go through the figure, carrying it the next sort of
step in the drawing,
I'm going to take and try to use the wash to take and
emphasize the gesture, push it stronger, and at the same time
to take and communicate to three dimension. A big part of
taking and showing that three dimension is to take and define
the forms three-dimensionally in space a little bit clearer
other than just wrapping a tone around it.
So now as I go back into this,
notice now, I'm going to be doing a female figure here.
Hair shape, I'm blocking in a very very
simple
sense of 3D
figure.
Simple cylinder.
Now I come through the figure, going across form.
So I'm taking the tone. Notice I'm taking and showing this as
like a section of a cylinder that as I'm coming through I'm
taking the tone to the outside of the figure now, so I'm doing
a little bit about what we talked about last week , I'm taking
the tones from the outside into the interior. And at the same
time I'm amplifying the action. So then I'll go back and I'm
going to pull tone coming through and around the figure,
going over the form, going underneath.
And in this case now I'm going
around that leg, pushing that thing back, and so we're creating
the very very simple, but you can see how the wash now
becomes an integral part of taking and creating the form in
the drawing.
So we're building, we're building this thing. So now I'm
taking and wash and carry it even to the outside a
bit more. Now as we go along we can take an expand on this, so
we can build on it more. So the next step in the drawing then
is I'll take and come in and start to clarify the form a
little bit more.
And I also take and as I'm doing this I will take and
emphasize darks and lights. And looking to designing the are looking to designing the
anatomy,
taking, building, coming through.
Now what happened right there was that the paper is still wet.
So as I put down the pencil on it. We got a pretty strong
dark.
So
now coming across.
Okay, we're picking up a lot of the wetness of the
paper here. So I'm just going to try to integrate that tone.
So now you can see I'm making the eye jump from one side to the
other, basically just doing this.
Coming through, leading the eye.
Now as I do the drawing I'm feeling for
where it's going. Now one of the things I've talked about,
you watch me drawing, notice how I rehearse the steps
over and over. I'm constantly taking, going through, through,
through.
Come across, feel the forms.
Through.
So as I build a drawing then,
we get a lot more - we're building more tone. We're
coming through, adding to the figure. And I can come back into
this then and emphasize this even more now with working.
And often what I do when I'm taking and want to be a little
subtler with watch I'll take, can actually do a sort
of a crosshatch as I'm going through. So I'll be coming in,
you've got all
this, you know, we're taking, picking up all that really
strong dark. So maybe I want to pull in so now I'm taking and
pulling tone back in and
through. There I am using a bit of a crosshatch.
Okay going over the surface.
Again.
Here that was a bit way too dark there. So I'm just going
to take and
spread that tone out a little bit
and sort of incorporate it.
And approach it as a happy accident.
So this is the beginning, we can expand on it and as we go
through the drawing, I'm going to keep adding to it and adding
to it and adding to it.
And so this is the whole process that we take and we go
through using a wash you're building it up.
Now there is another other element involved here. As we go
through we start to take and carry the drawing a bit farther
we start using the accents. And the accent then becomes like
the drawing what we have here I can come through.
As I'm pushing the dark in here I
come across, I'll take and make, emphasizing that curve here. me emphasizing that curve here.
So now I'm making the eye follow the accent. follow the axes.
So the accent itself then becomes a tool. So you this
drawing here now, this is pretty wet right now. This
paper is not perfect for this.
But I can take and
hitting the tone here, come over, start to push in here. So you can
feel how the eye is going to start to move through and being
led with the accents that I take and create. Okay, let's
take a look at the model and do some drawing and see where this
goes.

Okay now in this pose,
first because a pretty strong rhythmic pose already,
so as I'm starting out the drawing notice I'm really drawing lightly.
And taking my time.
I rehearse strokes as I do it.
Now we're feeling where the figure is going.
Rhythm, through,
coming across. Now as I'm doing this I'm constantly checking also
checking the verticals.
Up.
Follow through.
Now the idea is that you take and maintain a fairly right
angle to the paper in your eyes.
Otherwise, you're going to start carrying a distortion. I
noticed in the drawings I did in the last session
I was looking up, I was getting an angle on the paper.
And so that some of the drawing tends to feel a little bit out
of proportion.
Pull.
I'm drawing very light.
I want to take and control, control the tones going down.
Pull.
Now back in, blocking in.
To be able to control the wash as I put it down.
I start out trying to control the pencil coming down because when
you're using a water soluble pencil, you're actually putting
pigment down. So you need to control, need to control the
amount of pigment that you're actually putting down.
Through, see the ribcage.
Now, one of the differences that I my approach to drawing
is that and you notice I keep taking and referencing the
anatomy,
working for the actual construction of the figure
three-dimensionally based on the anatomy.
And so I'm not using an artistic convention or I'm not
taking and copying the shapes that we're looking at.
Through.
Now each step now come through, it's progressively
getting a little bit darker.
I'm feeling, following through.
This is very very simple forms out. And before I go down at the
legs I want to take and block in basically, clavicle, through,
feeling the shoulder, shoulder's dropping something in this is a
cylinder.
It's going back in.
Pulling some drapery. So actually that's a useful tool
that actually from a design point of view.
You can take and feeling the straight
that is taking and pulling against the curves of the
figure itself.
Feel the stretching where the other arm is coming across
the drapery.
Feeling the latissimus, the teres major, from the other
side.
Now, we're getting this thing moving and a little diagramming here on
this on the side
is visualizing the upper torso and
as we pull down.
This is all - this is a form that's taking and going down
and away.
So we want to keep in mind nowrendering a very fibrin during this the very
very simple form here that all of this - here I'll take and use
the water to take and clarify what I'm talking about here.
Now all of this so you can see -
need to add some water here.
Okay.
But this is all going down. So you can see how subtle that
tone is now.
And just pushing the surface down.
So as I go through then I'm continuing going down and now
into the legs, as I'm doing this, I'm thinking right
across the form.
Going through.
Now I often use the same materials and the same general
technique in doing very very quick gesture type drawings.
Now I'm taking and carrying this a little bit farther.
So the gesture is part of course of the process of the
drawing that we're going through right now.
Feel the other leg is going back,
stretching back down, pelvis has turned.
As I'm doing this, I'm thinking of the this surface is
turned down, really feeling that pushing down.
In drawing the feet, thinking about placement on the ground.
So you're actually thinking of a ground plane that is going back
in space.
Okay. Now I'm going to use a whitewash going over
this to take and help thing. Then I'm going to go back over
it several more times. So as the head is turning away, I'm
thinking of the planes
pushing down. It's very subtle tone now.
One of the points I was making in another class I was teaching
is that
you have to - you have to take and develop a sensitivity to
the materials
and to the drawing itself. It's too easy to take and just start
knocking things down. One of the things I've found with
students, the most difficult thing that they have to deal
with, is getting too dark in their drawing. they're dry.
Because once you get too dark, you can't get adjust it or
change.
Although you can but it becomes a really a much much more of a
labor thing.
Through.
Now as I'm doing this. I'm going to take and you're taking,
pulling tone to the outside,
and take it where the navel is here, dropping areas down.
Using tone behind, come across, going over the surface.
So now I'm emphasizing the gesture by taking and
pulling these tones, going to the outside of the figure.
Carrying the eye across.
Okay, this is where we're getting a beginning.
Now I could also use the drapery. Now the other drapery
he's got the drapery coming behind from behind in here.
I'm going to take an exaggerated this
make it go more with the movement itself.
And so I'm pulling it out.
And I'm taking and pulling this drapery,
coming through.
So that becomes an aid to taking and showing the
basic gesture.
So now as I start to go back into this drawing, I'm focusing
on going over the surface, I want to get really get the
feeling of the angle here for instance.
So now I'm just being a little bit more selective.
And I'm giving a little bit more feeling for hair, allows
for more
movement.
Over the surface, feel the corner.
Stretching.
I use the mustache as a means of taking and creating a bit more
tone that I can take and push around with the water.
Working underneath the chin.
Focus on how the parts, how the overlapping forms, feel
the stretching coming up from behind.
Pull around.
Pull of the
muscles of behind the ear.
Now
as I start working down I go back to emphasizing
the flow.
First we got a feeling the shoulder's going back here.
We've got the clavicle
across, going in.
Feel the pectoralis muscles pushing, pulling over to the
arm.
And behind now really feeling the rib cage and that feeling the rib cage and
I'm going to emphasize this a bit more.
Feel the pull.
Now as I'm doing this I'm looking for the corner.
The line, center line becomes a
tool for helping this field from down here, thoratic arch
itself.
Pull.
Now here we're getting the classic
stretch.
And smoosh, we're getting a real compression on the one
side and the stretching and the other.
I'm actually adding forms here
and feel the corner.
And we build,
compression.
Pull down.
These forms are dropping now.
Down, carrying the line, coming across. crossed
Feel the buttocks behind.
Again should be fairly obvious that I don't
copy
the tones that I see.
I'm focusing on the movement of the forms.
Now we have this drapery to play with.
I'm going to take and carry this even farther out.
Pull,
pull, coming across.
Now we'll go through the drawing, I'm constantly adjusting.
See that this point that I had that leg a bit short.
Bring the knee farther down.
Through. Pull, going back.
Now here let me get a real effort to thinking about how
the leg fits in that surface.
Feel the buttocks behind.
And so this now stretching so now we're foreshortening,
that leg's going back. So I need to be thinking going
back around the form.
Through.
Against constantly adjusting.
And pull this leg back even farther.
Through. Now here I will use the cast shadow
from the drapery, pushing this all in tone. you pushing this all in town.
That's going to be fairly dark when I start to add water to
it.
I have several degrees of
values and pencils that I can work with.
Stretching.
Think of the line coming through, pick up the condyles.
Pulling around.
Now the other arm.
Surface.
Now, we're slowly. We're slowly building drawing up. Now I'm
going to take and go back into this.
Now
the tone is going to be darker.
Gonna take and do more.
Through. So it's not all that dark.
Feel
becomes part of the process now.
So
the subtlety of the value the fact that the tones are so
light
actually gives it more of a sense of realism, even though
what I'm doing is obviously not the copying the tones that I
see but the folds, so the fact that the tones are subtle is
part of what gives us a sense of real.
But that's what happens in reality.
So now pushing a bit more.
Now we feel the flow.
So we're taking here, totally contrary to what you see in the
photographs. I'm going to pull a tone across over the surface.
Yeah, pushing underneath the thoratic arch. erotic Arch
through.
Pull the tone over that surface.
And I'm casting a shadow
over.
And underneath
coming through.
Okay. Now, I took a little bit of pause here. So the painting
is dried so I can go back into it. Now, I'm going back in with
a lot darker.
Now
as I go back into the drawing see what I do is I
really focus on the movement.
So I'm coming back,
Now I'm picking up tones.
And I also to get that thoratic arch really akar Church, really?
feel the pull,
over the surface.
Now feel that stretch,
emphasizing the stretch
in the drawing.
Coming down.
I want to go across across the form and I want to
feel this is all - this is pushing down.
Pull.
Over.
Now as I'm stretching on the one side and I'm pulling the
atmosphere, tone inside. This is going over, over the figure.
And I'm going to be using, I'm pulling the drapery now a pulling the drapery now.
behind, creating a strong straight against that curve and
then continuing the movement.
And here I'm going to actually take another straight.
And we feel the drapery now underneath pulling the tone
across.
So I'm creating a fold as a useful way of taking and creating a
sense of movement.
Coming across and pushing line of the buttocks now.
Here.
Notice that I'm not creating a continuous hard contour to the
drawing.
Down.
Now shifting over, I want to feel the compression. So now all of
this as we feel the way the pectoralis muscle is going
over. So now again I'm constantly adjusting. Want to
feel that line going over that surface,
so making the eye move across.
Through.
And tone, center.
Push.
Making several lines to take and make the eye move.
Across, up. Now coming around from underneath.
Now looking for the corner.
So now we've taken and feel the pinch. Now, here's where of the pinch. Now, here's where
I start to orchestrate the shape that I'm taking and want
to feel that.
Coming across.
All of this now is actually I will use that in shadow and I
want to come through now emphasize
the pinch.
So I'm building,
pull the line from behind.
Really pushing that compression now.
Coming through.
Pelvis.
And I'm gonna again emphasize
center
creating more
of the tone.
Some of this is going to take and be picked up with the wash.
Through.
Feel the
pelvis coming from behind. We got the tensor pushing across.
Using the cast shadow
as a means of describing surface.
And again pulling forms in front or behind.
Feel the tones going over the surface
Again, I'm using lines. I'm going to emphasize a bit more
tone on the outside here.
So I'm just thinking of the lines now coming across.
Now I'm going to have to be very careful when I come back
and adding water because a lot of this is rather dark.
Through.
Over the surface.
Continuing
and I'm taking and pulling tone, since I pulled that drapery out
I can afford to take and come down, around, feeling the
atmosphere going over.
Behind and to get that foreshortening need to think of lines
going
this direction.
Just the fragments of the cylinder.
In fact, I think I will just take and drop, because I pulled
that drapery out, I can take and drop all of this into tone
and let the light.
Get picked up on the lower leg.
Okay now back,
really want topush the head even more going back. So I'm taking using
hair
that doesn't exist there.
Feeling the line.
Now combination of the very very very subtle tones that we
started with,
we will now work
with the darker tones that I'm putting in. And so you end up
getting a certain depth
to the drawing.
Well, since I've been taking working with the tones over
here, I'm going to take in pushing
the tone behind
the head,
create a movement going down, and then we'll take and we'll
pick up
the tone on the other side.
Coming through,
overlap.
Now here, I want to feel the tension in the trapezius.
Down, clavicle,
and where the scapula would be, deltoid.
Now, this is all going to be in tone again.
You can just use - I am using cast shadows here. I can take
and you see some of the shadows that we see here as a way of helping
to describe the surface.
So I pick and choose from my source what I want to use.
Here it's even creating a cast shadow in the pecs.
Now we have the drapery underneath
and
the drapery itself will draw the contour with the wash.
Form going down. And one of the elements that happens when
you're adding wash, it also starts to work almost like an eraser
and that you start to
blending in, blending in
tones together and if you want you can then take and use it
literally as an eraser.
Drapery and again, I'm going to pull this up it is coming out,
but I'm going to make it even more
obvious.
Use this as a
line, this leading in to the other.
Stretch.
Pushing the muscle down,
stretching back.
And building this tone in the stone
back here, the drapery.
And take this even a bit more.
Now, I have to be going through this carefully now
with the dark. Now one thing I put them on an awful lot of
dark tones in here,
which also allows me to be able to pick up some of the
tones from there.
Coming through.
Come through, pick up.
Well here we're going to get some very strong darks of the
drapery behind.
This works to take
and draw that contour against the roundness of the ribcage and the tones.
Here I'm going to cross hatch into the tones so I get
little subtler.
Through. And
now as I'm pulling that drapery out I'm taking and going to
drop much of this into tone
and I'm pulling the tone across over the surface and I'm doing
it so that now I'm going to be dropping a - this is very strong.
There's lots of tone here. So all of this now is taking and
bringing them, taking and applying this also as an atmospheric
thing,
pulling around the leg is going back, drapery coming down.
Overlapping,
feel the curvature.
This is wrapping around.
So that leg is going back.
Then we will pick up.
So now
all of this was creating this movement across this way.
Now I'm going to come through.
Notice I'm cross hatching that tone as I'm putting it down.
And coming through,
picking up that dark and that whole arm now is in shadow.
And in the dark
of the drapery behind.
So it's that functions as a shape as well as
a tone.
Now I'm going to come across the outside,
going over. Through.
Now one of the things I'm doing here that gives a lot of people
to start with
difficulty is that I'm working with a lot of tones around the
outside of the figure
so that the whole sense of the atmosphere now, so it's
becoming more of a design.
So now, we've taken a
dramatic departure from our source.
So now we go back into this
and
again, I have to be very careful. I'm gonna - I'm shifting
to a black.
And what I want to do with this now is well, maybe I best not.
Because the paper's pretty wet. See if I can take and sneak up on
some of this. What I want to do is to emphasize
the action
There
it's not bleeding too much. Now I can take and coming through.
So as I go through with that then I'm going to come down and I'm
hitting the
side of the pelvis,
feeling the pull the muscles come here across,
over,
and then making the eye move across.
The other side I want to pick up tones.
Now what I'm doing with the lines now, I'm not going to
take and try to blend it, I want to leave the went to leave. We'll leave the
line show.
And
emphasize now
gesture, feeling the compression.
Pinch.
Now here I will add, go back with the wash to take and push the
contrast of the straight line of the cast shadow on that leg
to be more
gradated tone which represents the
core and also as the surface pushes up I'm going to
put tone on the top surface here, which would be turning
away from a reflected light,
which is what we've dealt with in the past. So now as you can see
as I'm slowly starting to add these tones
we're creating
the feeling of a reflected light that's building into the
drawing.
So let's take and add
a little of that washing in here to take and force sharpness.
Feel that going back in.
So the accents coming through.
Now
base form, top of those forms, is turning away.
Now we can see from here come in,
adding a bit of core and a bit of a cast shadow and I'm going over
the top of that form.
So now you created a reflected light taking and
pushing back up into the drawing.
Through.
None of this of course exists.
I'll come back in with the core. I'll come back into the core.
Through. And you can pull tone here a bit more.
So we're building a drawing now.
And taking, come back in,
this is taking and emphasize now. I'm gonna take and even
pull this thigh out create the line a bit stronger.
Coming through.
You have this leg going back.
So I'm going over the surface, pushing machine.
forms so that we get a sense of foreshortening in these forms
are setting back down in.
Drapery is coming around, over.
that's feeling a little awkward to me.
Make it longer.
Notice, I have no compulsion about changing things
as I go along.
Change it as necessary.
It's a drawing, not a copy of a photograph.
Which is the main thing, my point in using photographs is
that you don't copy, we use them.
Over.
I'm using these darks as really creating a lot of
emphasizing the luminosity in the figure.
And taking, adding more hair.
Get the line,
over the surface,
feel the stretching.

Okay. Now, I'm going to take a bit more aggressive, make this a
little bit faster and I'm starting out with black. So
black is sometimes a little bit touchy in terms of putting the
tone down, it's at something that can be overdone. But I'm taking and
sseeay this is a bit more of an aggressive approach, taking
doing. So starting out already the line's considerably darker,
want to feel the flow,
you know building up, shoulders, coming across, really
stretching that arm out and
feel the rib cage underneath.
Now
pull,
stretching, going over.
Now this is that leg straight down. I'm gonna take
and since we got this drapery coming around over and he's
stretching his drapery across. Okay. I'm going to take and
give a little bit more movement. That looks pretty
static to me. I'm going to take that drapery that he's
stretching here as it goes over and I'm gonna take and
turn that
and at the same time I'm going to take and turn the leg so we
get more
of a sense of movement within it. So again, I'm really
adjusting.
Coming through.
Now other leg going around,
it's pulling back.
Now, when I'm going back into the again what I'm focusing on is
creating movement. He's got sort of longest hair in here. So
I'm going to take and again take advantage. I'm going to
take, pull that stuff around a little bit more ,create
a little bit more flare.
As you're doing the drawing now, you know, I'm just hinting at
stuff.
Feel pull,
I'm thinking of the trapezius as it's coming down.
Stretching crossed.
Feel the pull.
Scapula's shoving back
and I want to feel the pinching.
Now see I'm going to come back in with some wash here very
quickly. You can see this stuff is going to come up a lot
darker.
Rib cage, through.
One side to the other,
shoulder stretching coming down, deltoid.
Yeah, this is sort of like I like the idea that is where the
drapery's coming across.
It takes and in the shadow from that it helps to take and describe
volume. So again, I'm taking advantage of that.
So, again I use the photograph, I take what I
think is useful or interesting and I'll work with
that but I don't feel any compulsion to copy it.
Pull.
Now
I'm going to take and put water on this section now so that it
will be taking inanddrawing a bit. So I'm taking and trying to
think ahead. So I'm managing the drawing. Otherwise, it'll be
all too wet
as I'm taking and building it. So notice I'm taking, making the
lines go with
the direction.
And we can take that here, cast shadow, come over. Thinking of the arm, forms
are pulling back.
Through.
Triceps into the
elbow here, pull,
and get the drapery coming across. Hand, elbow, wrist is turned.
Through. And again I'm moving the drapery out so
that we feel its direction.
The other wrist you can take through,
around, over the surface.
Now that drapery
is coming through, I want to take and do several things. I've got the
movement is going this way.
So I'm going to take that drapery and as he's pulling it
we can take and give it a bit of a turn
so you can see that this now
is taking and feels like it's a movement and we're coming
across over the other side here.
So I'm going to take and work into this right now with some
water and I'll depending on how dark it's getting, I may be
jumping to some cross-hatching right away. We did a little bit other way. Well, we can move it
from before - that's not too bad.
But I'm going to take and integrate the tone, line.
Drapery.
And here really want to take advantage of and feel, going
over, and feel the cast shadow over the form.
Now that's pretty dark.
Here's where I'll take advantage of the tones then.
Through.
Over the surface.
Okay. Now
this is going to be
dark.
Here, I'm going to take and pull something to town outside.
Through.
Squeezing water there.
The atmosphere between the trapezius and the head.
Okay while that's drying I'm going to take and work down into
the lower leg.
Now see the weight is on the right leg here. So I'm taking
and right away thinking this, across, taking, picking up the crossed taking picking up the
sacrum here and feel the fullness, form,
coming across, feel the pelvis going over.
Around.
Buttocks.
Through, pushing forms back over the end.
Now through. Constantly notice I"m constantly going over the surface of the form. going over the surface the form
Around, down, here picking up a cast shadow.
Over.
Notice I've really changed it from the vertical and moved it over.
Now I wanna feel the shifting on this side.
Down.
Use a cast shadow here.
Legs got to come down below, lower.
Through.
So I'm going to take in here's where I'm going to
deviate from the light source.
I'm going to take
well, maybe not. Maybe I'll leave it. Let's
leave it here.
Through, coming down.
Over,
one side to the other.
In. Wanna feel the forms dropping down
and fitting in.
Over the cap, one side or the other.
Stretching.
Okay now I'll go back into this with the wash.
Feel, down,
I use
crosshatch,
through.
Now heere I'm going to take and use the atmosphere and come through,
drop all this,
wrapping around
Coming back up.
Okay. Now I'm going to go back into - well, let's take and do a
little more with this arm.
Now
emphasize the flow.
This area had a chance to dry up a little bit.
Notice I'm really pushing now.
I want to create
a feel.
This is stretching up.
Feel the rib cage behind.
Now here emphasize using the core, the lines, to help the
gesture, the movement. Coming through. through.
Pinch.
So now this is a lot more aggressive approach than the
last drawing.
Still thinking of all the same things, just being way more
direct
and emphasizing.
Stretching over the surface.
Pinch.
Now I'm gonna take and go back with the wash washing and pull out some of that
really dark.
Let's just take and add a little bit of water
up here.
Cast shadow.
Okay.

Okay, that was a bit of a different plan things. The big
difference between the two drawings, I did one of those
being very careful, building up very lightly. The second drawing
being very bold and direct. In both drawings the button. Both drawings. The
primary thing was to take and feeling the action and the
flow and bringing a bit of dramatics. Notice I changed the
pose and moved the legs, added the drapery flowing. I didn't want
any of this staticness to it. So we're going to continue in
that vein next week, but with different materials, following.
I'm gonna be be taking which I do a lot in drawings
is taking, working with
I'm using a fountain pen
and the water brush
and dealing the same materials, same things. I may even take
and use some toned paper. So
these are basic materials. We had an excellent session. I
think we had a good one here and I'm particularly pleased
with the drawings that people are doing, they're very nice. I think
you're going through and going through the construction. I
just want you to take and be a little bit more bold in taking
and working outside of the figure, bringing tones from the
outside in, moving stuff so it's not just a contour.
So that's the whole point is making - you're
making a drawing, you're taking in the whole piece of
paper. It's not a photograph. And so really learn how to
use those photographs, not let the photographs use you. So
this was a good session
So until next week, I'm sort of look forward to see what you
can do with this. Take care.