- Lesson Details
In this lesson, instructors Heather Lenefsky and Chris Legaspi will walk you through how to use and sharpen your pencil. You will begin to experiment with different mark-making techniques through multiple drawing exercises.
This lesson belongs to the course Beginner’s Guide to Drawing. It is a 12-week course designed to empower new students with a structured approach for learning how to draw. Join instructors Steve Huston, Chris Legaspi, Heather Lenefsky, Bill Perkins, and Mark Westermoe as you learn the fundamentals of perspective, rendering, and composition. After completing this course, you will develop a solid foundation in drawing.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
Transcription not available.
have on hand for pencil sharpening.
They're a couple different types of razor blades you can
get. I like to get these single edge blades. They're super
cheap if you get them in a big box from the hardware store and
they do dull pretty fast so it's nice to have them on hand.
If you end up painting down the road you can slip them into a
holder and use them to clean your palette as well. Here's one
type of sanding pad. These can rip off as little sheets. I
don't remember the last time I had to rip one off, they last a
really long time. So this is a sanding pad that's especially
made for artists. This is one of my personal faves, it is a cheap
sanding block from the hardware store. It's active on the edges
and on the broadsides and some people will choose not to use
every side so that their hands don't get gross.
Also, it's nice to have some Ziploc bags to store these in,
especially if you're carrying them anywhere with you.
Okay, this is a very sad thing this happens, this
happens a lot. Sometimes despite your best efforts a
pencil hits the dust and you lose the tip. We hope it only
broke here. Sometimes it breaks further down the barrel. So we
take a little bit of a risk when we sharpen it again and
hope it's not broken anywhere further down the shaft. Let's
go ahead and take a blade and see if we get lucky. With this
we're always going to be cutting away from ourselves
because we're going to be cutting sort of parallel with
the long axis of the pencil. And that's not just for safety,
that's because our aim is to create a long taper in the
pencil. I'm going to fold the blade this way in my right hand
because I am right handed and the pencil in my left. I'm
gonna have this as parallel as I can be, I'm going to think
about following through this way and not putting a great
deal of pressure. So with this thumb, I'm going to start to
a little bit of steam and just come through.
We're going to rotate slowly
and begin to make our way around.
This is a great opportunity to start to kind of tune in,
put on a good soundtrack, get in the mood.
You may even want to do a bunch of pencils at once. I had a
great teacher who always said that whenever you were done
drawing for the day to sharpen your pencil so it was ready to
go again the next time you wanted to study.
If it already had a little bit of a start to it, if the lead was
already a little bit tapered I might spend a little
longer on the wood.
But right now it has a little more support around it. And if
it's fragile in here this might increase our odds that we
actually get it sharpened. If I can do some of this work on the
fragile tip while it still has wood around it to help support
Some people like to take the razor and where they use the
middle maybe for the wood, they'll flip it to this other
grip and use a little bit of an edge. That's still really sharp,
reserved for just the tip here.
I'm taking down about as much, you know, probably like one to
one ratio I want to expose the wood and the active conte. The
reason for that is so I can make really great use of this
pencil. I'll have more than one tool where I you know, just
have the tip active. I ll be able to toggle back and forth
between a little bit of a line stroke to a little bit of a
broader to even twist it in my hand and in one stroke go from
a thin to a thick and if I want a delay in tone, it's
really great to have that nice graphite or conte exposed so
you can just lay in a nice even tone. And now that we have that
I'll start to slide down a little bit more. The closer I
get to getting this done, the more important it is to make
sure to be parallel.
You'll find there's a little bit of glue or an adhesive
between the wood layer and the conte
and so you just want to carefully remove that. And once
I like how much conte is exposed, I'm actually going to
switch. I prefer to do the finishing with sandpaper.
All right, cool. So we're getting there, we're getting
Take it down a little here.
Okay, I'm going to put the blade down. You can see we've
got almost a nice one to one ratio here.
And now I want to finish it off into a point.
Let's start with the sanding pad
and then I'm going to move to the sanding block.
One of my buddies told me the key is to turn slowly and I
think he's right about that.
As you get closer to a finish you want to slow your rotation
I might go a little aggressive in the beginning.
And I'm holding it again fairly flat, fairly parallel to the
pad. I'm not getting a real harsh angle here, keeping it
pretty flat. I found if you have black trash bags, it's
really hard to see, you know, if you check your pencil to see
how you're doing. It's hard to see it against that, so you
might want to find like a light thing to, you know, lift it up
against to check.
The nice thing is once you got it started, you know, it
might dull from drawing. It doesn't take as long to tune it
as it does to start it.
Let's go ahead - let's try switching to the pad. See how
Little check here.
At this point I kind of just look for
any sharp angles. If it looks faceted, you know, like a gem
we want it to look smooth like a really smooth cone.
All right guys, I think we saved this one. So you can see
now we've got a nice long taper. We have about as much lead
showing as the word approximately. And you can
imagine that if it's nice and smooth you can rock it down on
the paper from tip to nearly parallel with the paper and you
can find a variety of any mark in between.
So this is how you would hold a pencil in grade school when
you're learning to write your name. You're probably pretty
familiar with how this feels and you might even guess some
of the pros and cons with it. We discussed before how it is
important to think of drawing from your shoulder, from
using more of your whole body, and how it isn't an advantage a
lot of times to draw from your wrist. So with this, if we step
to the paper here, we find it does tend to lead us to that
temptation a draw with our wrist. And that may not be bad
if we're ready for some really fine finishing
moves, getting up on the tip, you know, getting that
last little darkest dark in a pupil. This might actually even
be a decent way to approach like sketchbooking for
instance or when you're holding something like a ballpoint pen
where the tip is the only active area on the implement.
The con is, it's a little bit limiting and a little bit
harder to draw from the shoulder to get big shapes or
to see the big picture. Alright number two, the underhand. So
this is a grip where we have the pads of our fingers below
and the thumb on the top.
we can get right up towards the tip or move back a little bit.
When we lay our hand down we'll find we can actually fulcrum or
rest a few different ways. So one fulcrum is resting the
fingers against the page while some artists might like to kind
of cantilever up on
the back of the nails. Might be kind of slick and easy to slide
that way and it lifts you up a little bit more. So you have
this angle which gets you more towards the tip and maybe if
you want to be more parallel, you could try resting your
fingers. So play with both.
Some advantages to the underhand grip are you can
really make the most out of this tool. For instruments
that have this nice long edge, you can use the whole active
area. You can draw
whole planes in with tone
and in the same stroke, you can start on the tip
and end with the broadside. Also this starts to get you
back a little further from the page, starts to help you see
the bigger picture. Third way to hold your pencil, sort of a
subtle variation on the second way. The underhand grip slid to
the edge becomes the end grip.
Really frees you up from the shoulder.
You can step way back and see the whole picture in context,
the whole big relationship. Pros, you feel like Harry
You get a really nice look at the whole page. Tunnel vision is
one of those things you want to check yourself against and this
is going to really help you because this is great for when
you're kind of looking to lay something in or see how it
looks on the whole page. It's also nice if you kind of want
to ghost something in really lightly, you're in
your shoulder. You can make big sweeping strokes, can find those
rhythms. Also, this is a lot like painting and so not only
is it really fun but again, if you're into painting, you're
interested in pursuing it down the road, this is really great
transition. You can go back and forth with a lot of ease.
Because there is no fulcrum here there are, you know, some
cons. It's a little harder to control the pressure. It's
definitely probably not the finishing move, last little
detail in the eye, you know, probably not great for
rendering like the other groups could have been used for. This
one also the longer you stay in your shoulder without
resting against the paper you might start to fatigue a little
bit in your shoulder. The other nice thing about having the
grip on the end is you may use it to check a plumb line,
same thing with the paintbrush. They're nice and long for a
reason. They actually can work as measuring tools.
furniture. You see I'm on the bench. And we also talked about how to
hold a pencil and we talked about making marks, what that
looks like with a pencil. There's a great new part of the
pencil that we're going to discuss next and that is how to
make it a tool for measure. I'm going to go ahead and show you
now how I'm going to lift the drawing board and park it on my
knees and you'll see that when I do that, the angle from my eye
so the page is nice sort of centered. It's a good arms
distance away. And I have more of that perpendicular orientation
so that there's not distortion occurring. So when we start a
drawing we're going to make some really light marks because
we want to just indicate where the figure or the subject might
occur on the page. And these are going to be rough estimates
that we're going to get tighter and tighter as we go on and in
the beginning we're going to keep them really light so that
later we can adjust them if we need to adjust. When you look
first at your object, take a minute, breathe it in, make sure
you're sitting up and you've got distance here. You want to
notice the big shape first and then think about how you're
going to take that big shape and translate it onto your flat
two-dimensional page. Here we're working with the figure.
The elbow is the highest point and the foot at the lower edge,
and I want to make some marks where I want to limit the
figure. So I'm just lightly going to pencil in,
lightly going to pencil in some marks. Now that I have those
marks penciled in, the height and the lower limit, I'm going to
look at it for a second. And you'll see me start looking
over my pencil. I'm starting to turn it into a tool here. I'm
going to lock my elbow and I'm going to lock my wrist because
I'm starting to judge things based on this position. And
that is a relationship of my eyes to this point. You'll
notice if I bend my elbow this distance has changed, this
measurement quickly becomes a totally different measurement.
So remember to keep your arm locked in place. Notice that I'm
not holding it like this, pointed at the model. I'm not
pointing it at myself. I have it perfectly vertical. So
that it's only in this one plane. Let's look first at how we
would use use a plumb line. And a plumb line is simply a
vertical line. Back in the day they used to tie a bob or some
kind of weight to make sure that a line would be a true
vertical. Here we're just going to try to lock our arm and keep
our pencil as vertical as possible and we're going to use
it to look at some relationships. So keeping my
vertical as straight as I can, I'm going to start to note
some things. Like I might want to know where this crotch of
the figure is in relation to the head.
I might want to know how the edge of the shoulder relates
and I see that there's some space, there's some daylight
between this heal and where the edge of the shoulder would
Keep the variables as simple as possible. Try not to introduce
any other changes. So I've got my arm locked and I've got my
pencil vertical and part of that reason is to view the
model but also when I translate that to the page,
it's the same angle. I like to check the overall big shape
just very generalized. I like to check that with angles. So
I'm going to just look at what's the angle from here to
the ground? Well, it's a off vertical, it kind of cuts in
about here. So I'm going to line my pencil up approximately
at this angle. I'm going to lock my arm out that angle
coming down. And I'm just going to take, translate that to the
page, and just approximate the same angle. Trying to keep my
shoulder the only thing moving, the rest of the arm is straight.
Then I'm going to look at the limit on the right side of the
model. At first I'm just going to mark that really big and
This is almost a vertical.
Just to get some idea - this would probably be a good time
to find an approximate midpoint so we have some idea
of the height and the lower limit, where that horizontal,
where that equator is going to fit. And to do that I'm going
to use the pencil and slide my hand up and down to change the
unit of measure for something really small you might see my
thumb get really close to the top. For something bigger I'm
going to hold the pencil further down. And that's just sliding
based on what I see when I look past my pencil and at the model.
So locking the arm out again. We're going to start by
guessing, we're going to eyeball it and say well, you know, it's
probably around the crotch, but there is a little bit of a bent
knee here which is going to shorten that lower half. Let's
see the distance between that raised elbow and the crotch. So
I'm going to use my thumb, sliding my thumb down the
pencil, locking my shoulder. Let's guess about
here to start. So there's this distance. Now if I slide
from the shoulder just straight down the figure keeping that
I see that my thumb goes off the page. So that's not the
midpoint. There is more distance up here than there is
down here. So to adjust we're going to take and slide our
hand up a little bit.
So, let's see. What if I slide my hand up all the way here?
Let's see where that lines up.
Here's the point of the elbow. Locking my shoulder, I note
that it comes about the rib cage. Well, now this is way too
short. This is going to be like trying on some jeans. You pick
the pair you think is right and then you try it on and then you
adjust from there. Let's check again. I might slide a little
further down. I'm just scooching in little increments
down the pencil.
All right. So this is getting close to the limit of the
abdomen here about the pubic area. And we slide down. That's
a lot closer. What I found is the midpoint on the
figure. I know what part of the figure is going to fall and
divide the height into two equal parts. On my page I
already just indicated where I want the top to go and where I
want the bottom to go. And that's arbitrary, that's up to
you. But now we need to find the halfway mark between the
lower limits and the upper limits that we've already set.
So I'm going to hold my pencil here on my mark. I'm
going to take my finger and put it at the top. Now I'm going
to keep my finger there and I'm going to do the same thing at
the top. I can guess that probably the midpoints around
here. So I know that's going to be where that end of the
abdomen, beginning of the pubic bone will fall. So the thing
you're most confident that you have accurate is a great place
to start to compare to get the other pieces of the puzzle in.
the accessories, let's talk about ways that you can use
your materials. We're going to apply the basics here and I
wanted to start by talking about some exercises you can do
and I'm going to begin with line drawing exercises. So line
as we know is our old friend, probably the first mark that
you'll make. It's kind of like writing too, first mark we all
make when we pick up pencils and pens. So I'm going to show
you a couple of different exercises that you can do
to improve your drawing using line. So the first exercise is
what I call the connected dot. So basically you just want to
put a couple points
on your paper. One there, one there. Make it a little darker they're make it a little darker
so you can see on camera and then whoop try to connect, see
I'm off here.
Now you don't have to be perfect. That was way off.
Oh getting better. But the idea is to practice the motion. It's
really the motion. And that's one thing I want to stress too
is not wrist motion and you notice I'm not doing -
right? I'm doing this, you see my whole arm moves
and if you see me,
if you see my body you can see I'm actually moving my body too.
Especially if you want to get a long life.
So what I would recommend is to do a whole page, maybe a page
in your sketchbook or a page like a piece of copy paper and
fill it with line.
Draw two dots and try to connect and as you get more
confident you want to go way out as far as possible.
Let me try a big one. You ready? Here we go.
Oh pretty close look at that. One more, one more. This is
fun, pretty close. So that's the idea. And what I want you guys
to do is go in eight directions, so we went left to
right, this direction one, obviously.
Top to bottom is another one.
Right. Do a whole page of these,
top to bottom,
and then diagonals.
And go from
as long as you want, making sure to move your whole body. You
notice that when I move my whole body the line actually
becomes a little bit more accurate. To complete the eight
directions go in reverse.
All right, this is against what's naturally comfortable
for me, left to right. So you want to do that too. You
want to put yourself in an uncomfortable situation as
often as possible because that will really ramp up your what's
known as dexterity, the ability to hold your tool and make
marks with your tool, dexterity. So you want that.
See how this is kind of awkward for me, but when I go back the
it'll be really really helpful when I go back the other way.
And go top to bottom. So eight different directions. Left to
right, right to left, top to bottom, bottom to top, and
left, upper left to down,
and lower left
this way, and then in reverse as well.
So you basically want to practice drawing curves, round
forms, curves, various sizes,
various shapes, and various degrees.
Draw some big ones and notice the bigger I get, the more my
body's involved, again moving the whole body.
And these too you want to go different directions.
Left to right,
right to left, diagonals,
and up and down, top to bottom.
And what I like about these little exercises is that you can
do them almost anywhere and you can even draw them if you're
watching your favorite movie or TV show. These are great for
like on the phone and you're on hold on the phone. It's a
great way to to make the most of your time pretty much when
you're waiting anywhere. You can do these wonderful little
exercises to really ramp up your dexterity, your control, and
your ability to draw with line. Try to a big one. You try to a big one.
It's a lot of fun.
use a hatching technique. Hatching is basically hatching is basically
shading with line. So we're going to start with these
little squares and what you want to do is fill
the box with squares and you want a nice even tone.
Nice even tone. So do a whole sheet of these boxes.
Whole page in your sketchbook.
A whole sheet of paper.
What that does is it trains you to do really nice clean and
even strokes. And I'm even going to do it with pen just to show
the importance of line.
And what I'm doing here is I'm consciously trying to make my
strokes nice and even, nice and clean, so that when you step
back the tone reads as a nice even uniform flat tone.
And it's not really about how good the tone looks or how
perfect the lines are. This is really just a mechanical
exercise, really about muscle memory here. This is what it's all
And of course you don't want to go just your comfortable
direction. For me it was up and down comfortable. You want to
go in four different directions, right to left, really make
Bottom to top. See this one you notice
it's not as clean. So that's an uncomfortable position for me.
The more I practice that, the better my drawing skills will
And of course you want to go in diagonals too.
Nice and even.
Nice and clean.
As best as you can and then
the opposite way.
So do these at least four different directions, filling up
squares using hatching, using line to make nice even tone.
going to fill a rectangle or a bar.
And what this does is it will help your endurance.
So unlike the small square, the long bar will force you to
keep drawing and keep drawing and it will really improve your
And again, this is a comfortable position for me,
left to right,
bottom to top. Let's try the uncomfortable way, another
This is like -
it's like doing push-ups, like doing exercises and you want to
go in not just horizontal but vertical rectangles, too.
So you want to try stay as consistent at the bottom as
when you get to the top. That's going to be tough
but that's what this is for is for really working those
muscles, getting that muscle memory.
And again, you can do this almost anywhere in your
sketchbook or any sheet of paper. So it's a great great
exercise you can take on the road. So do a whole page of
these. Change up your direction. Make sure you do half your
sheet horizontal and at least half your sheet vertical as
one. This is going to be a tough one, but I got faith in
you guys. And if you do this believe me, your drawings will
go to the next level. What we're going to do is do
gradations. So what I'm going to do, instead of doing a bar I
want to do, imagining a picture like a
canvas or a piece of paper. This is like my picture, my
thumbnail and I'm going to start doing a gradation with
in a fairly comfortable direction left to right.
See, that how it gradates
from top to bottom, dark to light. Let me try the inverse.
It's another thumbnail. This would be a cool way to practice
doing gradations in skies and things or filling in the
background if you're going to put a figure or still life
I'm only using line.
Get a nice gradation. Notice that the end I leave the white
of the paper and then reinforce it down here.
Let me try diagonal.
Again starting with what's comfortable for me.
Try to make it as smooth as possible.
Using only line.
It's a little better, nice and smooth. I'm gonna try it with
And with pen I'm going to go bottom to top, right so left is
the complete reverse of what's comfortable for me. So wish me
luck. Here we go.
A hatching contest by any means. This isn't a abstract
drawing contest. This is a pure muscle and draftsmanship
Draftsmanship is drawing skill.
Whew, that was a tough one. That was a tough. One my God.
Let me try one more tough one because just so you know -
oh, let's try this one.
Inverse diagonal. Oh ouch ouch, like doing push-ups,
like doing abdominal crunches. Oh, oh, oh, it hurts, it hurts,
but you'll thank yourself later. Oh,
oh, oh whoo!
My arm is hurting and notice I said my arm.
Draw an arm for you.
Right here is sore
because I'm drawing from the shoulder. You notice you don't see
me chicken scratching. It's what I call these little tiny
little mark, no know you want to do. And again, that whole
body will help you to make nice and clean marks and then with
practice your tones will get great, but you can see how just
these simple exercises alone even a little bit every day, five
ten minutes a day, one sheet a day, your drawing and your
ability to use your tools will really really improve.
light to dark. And since we always want to practice seeing
things in that thumbnail if possible, let's go ahead and do
in a series of boxes rather than just a strip. Like we're
going to do five little puddles here.
So I'm just using a conte. I'm going to get some kind of boxy
Four, let's put a fifth one in here. The cool thing is this
one is going to be the white of the canvas or the paper.
Right, that one's done. Check.
And so I think a good way to kind of approach it, you know,
maybe we'll look first at the darkest dark and the lightest
light. And I'm going to use the edge of the conte because
when we're doing tone, we're flipping it to that thick side.
You know, Chris really was working out there doing all
those lines. I feel like this is cheating.
So I'm just trying to get a smooth tone. So I'm going to
build up kind of slowly.
When you go slower
you can be more conscientious of your
pressure that you're using and that way you can keep it smooth
versus if I get really dark really fast here, you know, I
might not be able to quite match it up without getting
some kind of line in between. So if you can kind of go
smoothly that's also a nice tool to be able to develop. I
used to just draw like tetris shapes on my pad to warm up,
kind of a fun variation on a theme.
So we get this one pretty dark. I'm starting to press into the
grain of the paper. So let's see if that can be our darkest let's see if that can very dark
dark and now let's kind of estimate like maybe what 50% is
between the darkest dark and the lightest light here. Uniform,
trying to be clean.
I'm going to come back across again.
And I'm doing this the easy way for me. So gravity is being
kind of useful on this table. I'm just sort of letting it
And one thing we might do is just a lift a little bit out
kind of blend it in a little bit.
And then let's see if this kind of -
just to kind of get it looking nice. So just get the tissue
And I still think that's a little dark probably. And so
with drawing and with art, you know, you want to sneak up on
something slowly so you don't overshoot your mark, but a lot
of times it's like a pendulum. You go well shoot I pushed that
a little darker than maybe I ought to have so let's see if I
can make this a little darker to compensate.
That looks a little better. We might have to come up a little
lighter on that.
Maybe I'll pick off a little bit.
You know, let's look at the lightest - the lightest light
here and see what this looks like if I get
just real light and this paper is going to pick it up quick.
So I'm going to try to be much more careful.
So we look and we go does that look like 50%, no that's look like 50% now that's that's
more close to the lights than it is to the middle here.
So let's take another pass at it. And that's kind of how this
goes. You make a choice and you stop and you go is that
right? Kind of evaluate, go back in.
You know, it's really not magic, just a series of decisions. When
you get better at making decisions and your hand gets
better at performing them, your stuff starts to look better.
We're getting warmer. Let's put this one in and then see what
So just kind of following that same stroke delay, that's own
Now if I stop here that's not nearly enough. So I'm going to
start leaning on it a little more.
Kind of rotate it in my hand to keep that tip looking nice.
Start getting a flat edge on it.
All right let's give it the kleenex treatment.
Let's see what this does, see if we're getting any warmer.
All right. What do you think? So this
kind of still this is really close to this and this is
really close to this. So we might want to
see if we can just draw a little more distinction between
these. But this is the idea and so
as you get a feel for your paper and you get a feel for
your instrument, you're going to go back and forth and you're
going to try
to really pay attention and study value because it's you
know, it seems like filling in a couple boxes would be a piece
of cake but you know, most of these things they do require - I
mean all of it, the more present you can be,
more seriously you can kind of take it,
it's just good to start cultivating it now, even though
we're literally, you know coloring in boxes.
All right, and let's work on just some gradients dark to
light here. So let's do one of these may be here
from side to side. I've got my Knuckles here resting down but
again if you can see this wrist is pretty locked out.
My shoulders aren't as strong as Chris's but I'm working on
It really is - it's something you're doing with your body.
You're not - you're not up on it
from the wrist here. We're pulling down from deeper back
up here towards the shoulder.
So just something like that.
Using the shoulder. I got my core activated. I'm not joking
All right, something like that. And then maybe we say well do
we keep that light in there, you know come back in,
draw with the eraser a little bit. So we've got, you know,
sweaty kleenex here and the stump, the eraser, you can
bring all these guys out. This little guy, little charcoal.
See what kind of trouble we can get in. So I'm going to draw
one more of these
shapes and we'll say, you know, something like that, like
something for could be a portrait, could be whatever. And
we're going to go full value
from let's say on a diagonal.
So laying in a gradient
is really important,
you know, the light is never going to hit an object the same
the whole way across it.
And you'll start noticing this the more you observe and so
practicing laying in a gradient. I mean you're going to be laying
in gradients for everything.
So we're going to get a little bit of tone, kind of feather
down, get your finger out. Fingers are fun.
And probably start to get towards this corner. So you get
your finger in there. So I get something like that and you're
just - if you can step back and look, say dark, light and then see
if the middle strip looks like 50% you know, that might be -
maybe it's too light. Maybe we want to just put a little more.
So remember to step back and check.
You know, it's like a puzzle.
Did we get it? Looks a little better, maybe something like
we've been looking at you know, dark to light. You think kind of
like a full-scale like if we number these maybe this goes we number these maybe this goes
all the way from ten to one or one to ten, depending on how you
like to think of it. Let's look at just using one portion. We
can shift to either end of the spectrum and stay within the
darks or within the lights. We don't need to use every single
one of these ranges. So that's talking about high key that's talking about heike
versus low key. So let's do another one here. Let's start
with the mostly light.
All right. So if we're staying mostly light, our
darkest dark is going to be maybe closer to like a
mid-range thing. Oh, I almost wanted to go back in there and
fix it again. See this is what happens. You're never done. You
just got to put stuff away sometimes. So let's see if we
can lay the darkest dark in at 50%. So this paper is going to
take this up. It's really going to be useful having - hopefully
that Kleenex dried out. Let's try it.
Because if we're staying high key
we really don't want to get it to too dark.
Like a rub in.
Okay, so we know we want this to be the tone of the paper so
we don't want to get too carried away yet.
Okay, let's step back. How we looking on the grey?
Alright, so we'll lay in a little more but we want it to
hit white by the end here. So this middle range
we got to be careful with. I've barely put, you
know too much tone on there. I'm kind of just hoping with
you know, accessories I can pull that tone across. Because I
don't think I can make a mark that light. Maybe. Maybe if I was
really good. I mean it's hard. It's a lot harder. So if you
can think about the tools you're using and
say well, let's get an assist with something like this, that
can really help.
So something like that might be closer to a narrow range of
value in a higher key. Okay, let's look at pushing it to the
So this one might be a little easier. We can, you know,
little - a little more easily forgiven.
Just getting crazy lay in tone on dark, although you own on dark, although I you
know, you got to be pretty sure. If you're drawing and
you're just leaning on it like this, but for this exercise we
know this needs to be dark. So we're going to put it in.
Also, this one's easier to smear.
This one is going to sit, you know, more on top of that paper.
So I'm not as worried about laying it in with this conte,
you know, it seems like it can scratch the paper, it can it
can leave more of a delineation between strokes. This one I
think is probably more forgiving.
Alright, so we know we want the darkest dark. What did we want
the lightest light to be? We're going to go back. We're going
to say maybe the middle, that middle grey. So where this one
started that's kind of where we want this one to end. So let's
just see if we can get
to that mid five on the ten to one scale. I'm just kind of leaving
more space in between the paper because the pressure of this,
you know, it kind of feels like all in nothing sometimes so
See if I can - all right. So what do we think? This kind of light
maybe we can push it a little darker.
I like getting these ends in because then you
have something to judge, you know, if I just started here
and I mean, I don't know where it's going to end up. This is
telling me this is your start point, this is your end point
and fill in the middle, you know, it's like if you were
going to draw an arm, you probably would want to, you know,
estimate at some point how long the arm was before you just
started drawing all the little anatomy along the way. It's kind
of nice to know where something ends.
Kind of mark that. Okay. So now if we decide we're cool
with this being
the endpoint now let's make this gradate into that so we
need a little more and it's just step by step, a lot of
Do something, think about it, do something, think about it.
Get the finger going.
And what do you think?
Maybe we can get some better kind of distinction there.
So that's about as dark as this can go. I might want that to
read a little bit lighter at the end.
And even when I'm doing this you guys, I'm totally moving my
I love that I get to stand up and do this too.
That kind of gets you in the mood. I think
it's easier to get into those traps of moving just your wrist
when you're sitting down. When you're standing up it's a
little easier to remember using your whole body. So something
like that maybe. It's pretty close. So you get the idea.
Just think about the way you're laying it down. Think about how
you're going to make those decisions. I still keep wanting
to go back and and fix this and that's okay. You can spend and that's okay. You can spend
some time trying to get it right. Just remember how much
work it takes to do a good job and know that it's
supposed to. The longer you work on this stuff the faster you'll
get at it, but it always takes your presence.
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