- Lesson details
In this video lesson of the Drawing Fundamentals series, New Masters Academy instructor Sheldon Borenstein teaches you the importance of “scribble” or gesture in your drawing. Sheldon will demonstrate how the scribble is in fact the soul of the drawing and the major tool used for storytelling.
- Sharpie Marker
- Pitt Pastel Pencil – Blue
- Prismacolor Colored Pencil – Scarlet Lake
- Drawing Paper
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of drawing and painting media. You will learn how the general principles of art apply equally
to all media and specifically how to work with each individual medium while employing
the appropriate techniques.
In this video lesson, Sheldon will teach you how to work with graphite.
three different ways, major ways to use it. You can do whatever you want.
Graphite is pencil. It’s lead. It’s graphite.
One thing you have to know about graphite is that when you’re working with it you
don’t necessarily—if you want it darker you don’t press harder. You just go to a
softer pencil. So let’s describe what the graphite pencils are. They usually—H means
hard and B means soft. So, if I were to say HB that’s right in the middle so we’ll
start there. Then we’ll go H, which is hard. Then you start doing your numbers: 2H, 3H,
4H all the way up. When you start getting to 9H be careful because they may not allow
you to get on an airplane with it. It’s so hard that if you sharpen it properly you
can use it as a weapon. Really hard. You draw, barely see it. Use that for subtle halftones.
So that’s your hards. The higher the number, the harder the graphite.
Now, we go back to HB again. It’s right in the center. Now we go to our B’s: 2B
is what you used in school. Say you take a test and you have to use a 2B pencil.
It's fairly soft. Man, when you start getting into the 4 and 5Bs, and at my school we have 8Bs.
I have them with me, and they are so fun. And they’re just almost like butter.
That would be it for that.
When you’re working with it just work with a good solid paper, something that’s got
a good rag content. And then the way you use it is a couple of different ways. If you’re
going to render with it think of your paper as like wood, and then you’re staining the
wood. If you press down too hard you’re going to break the grain of the paper, and
that paper is like the wood. What happens is you get that real shiny. If you ever notice
when you’re doing a pencil drawing and it gets really shiny and you have to look at
it from all different angles to see it that means you broke down the grain of the paper.
I’ll show you guys; I’ll do a lecture on paper one day and show you how paper is
made. The paper has a grain and a texture. You want to very lightly stain that so that
the grooves between the wood, the grain can come through.
So that’s how graphite is done with the rendering, just very gently add that graphite
to the tone of the paper and build it up. It takes a really long time so I’m only
going to do a little bit of it. It takes hours and hours, but you know, you put on some music
and put on a movie or something and go off to the other place. Another way will be pencil
strokes like a painting, like an alla prima/premier coup type of painting, and that’s really
fun. With that you can just keep building it up. Don’t vary the pressure. Just go
to a softer pencil. If you want it to go darker, pick up a softer pencil. Don’t press down
too hard because you’ll destroy the paper. If you want it lighter, go to a harder pencil.
Then the other one is what people love is using the finger to smear the graphite or
using a stump, and I’ll demo that for you today also. That’s fun. You can build that
up. Again, just building it up, building it up, building it up. Okay, so that’s graphite.
Lots of fun and probably one of the most common techniques out there. But it’s challenging.
Pencils to use. The best one that’s made is Tombow. I get that for my students at Chapman.
They’re a wonderful, beautiful brand. They’re great. The Eagle turquoise ones are great.
Any good solid drawing pencil is good. General. Any of the ones. If you go to the art supply
store and they have a bunch of them it’s probably a good pencil. Try it. Take it and
try it. Then if you go the video on the first fundamentals I show you how to sharpen the
pencil with the razor blade, and that’s real important too. And we’re going to do
a little demo on graphite. This is going to be a little more broken up on the demo because
graphite does take a long time. It’s not like you just do one brush stroke.
You have to build it up. So this one will take a little bit longer and probably do it in pieces.
Now, I know you’re digital people out there, and you’re saying, well, what about the
digital world. If you’re using Art Rage or Sketch or any of those really fun drawing
programs or Photoshop, and you’re grabbing the pencil tool with a brush tool and using
a custom brush that’s more of a pencil. It feels the same. As a purist I like to feel
the paper and feel the texture of the paper. But when I draw on my tablet, on my iPAD,
or I draw on my Cintiq, it feels the same. The technique is technique. So let’s have
some fun. I brought in some fun pencils to show you and to use.
Let’s do kind of a fun little demo on graphite.
There you go. That’s what we have. These are our tools. This is H; H stands for hard.
Okay, you can make jokes about that. From there we go to HB which is in the middle.
So we have HB, H going to hard. Then we’ll go to B which is soft. Why do they call H hard
and B soft? Why don’t they call it S? I don’t know. I wasn’t there.
Then we go 2B, 6B, and the almighty powerful 8B.
This is a stump, okay, and we’ll play around
with all of them. Are you ready? Here we go.
Let’s start with our flat wash.
Working small because you’re building up your tones.
Don’t press hard. Just change the pencil.
So that was HB. Go to B.
And you’re basically staining the wood.
Then 2B, 6B, 8B.
Notice we’re not pressing any harder; we’re just going to a softer pencil.
Okay, gradated wash. Start with H.
So we’ll do that.
This will be the tone that we gradate into.
We go HB, 2B, 6B.
See, you get that nice gradation.
Let’s go to our sphere.
Local value. We take the stump and you just smear it.
It's really fun.
Then we go—let’s go to 2B for the core.
Background. Always a different
direction because it will compete. I want to break it up.
Then we’ll go to 6B.
Take your kneaded eraser and pick out your lights.
Look at that. If you want, take the 8B and
hit it even some more. Get that contrast. Okay, box shape. Move over here.
Now, with this we’re going to do something a little different.
We’re going to play with textures, brush strokes.
Build up our tones this way. It’s really fun.
Take a look at Paul Calle for this. The book is called “The Pencil” by Paul Cally. It’s a real
Bible, wonderful book, and you’ll see pencil work like you’ve never seen before in your life.
Alright? It’s out of print but it’s very accessible.
You’ll see his beautiful, beautiful pencil strokes.
The old saying that the artist is only as good as their library.
Today you have the internet, and that’s kind of your library. But I don’t know,
I like my books. I just bought a book the other day. In fact, in turns out that the
forward was by an old friend of mine. His name is Michel Gagne, and he is the Renaissance
man. What an amazing talent that man is. I’ve worked with him on a couple movies. You just
love him. How do you not love Michel Gagne? But what a brilliant, brilliant, brilliant
artist. And look, there’s reflected light. So I got that book, and I’m going to digest
it one page at a time. Isn’t that fun? Look at that. So now you have that texture.
For the cylinder I’m going to go back with the stump so I’ll put it right here.
Okay, there are your shapes. Now, let’s make sure we’re in
the field here. Let’s do a really quick little drawing. Let’s see we’re here, here.
Here is my box shape.
They go flat here. Not flat here. It’s coming this way here.
This will cast a shadow here. Leave a little sliver of light.
Box shape, cylinder shape.
Nice little bush behind. Doo doo da doo. There you go. I want to put in a mid tone back here.
Nice and flat. Flat means not a lot of variation in the tone. If I say do a flat tone that’s flat.
This is pretty flat. This is pretty flat. This will give us some variation. So
we’ll use all of it in here. So we’re going to go flat. That’s here.
With the stump build up my tone.
Go to 6B. Make that darker so it stands out. Then up here put contrast.
Contrast here. Bring the eye to it.
Shadows coming across.
Hit the edges.
Flat underneath the tree.
It's feels pretty hard. We’ll go to 6B. This we’ll use similar to our box, just textures.
Just going to be sketch.
Remember if you put detail in a few places the audience will think it's everywhere.
It’s a fun little sketch.
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