- Lesson details
In this fifth video lesson of the Drawing Fundamentals series, New Masters Academy instructor Sheldon Borenstein gives you a solid introduction to the concepts of light and shadow. You will learn about the core shadow, halftones, and highlights and learn how these concepts are affected by the direction of light. You will also learn how to create a sense of luminosity with reflected light.
- Toned Canson Paper
- Pitt Pastel Pencil – White
- Prismacolor Charcoal Pencil
- Conté Crayon
- Keaded Eraser
- Sandpaper Block
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Borenstein gives you a solid introduction to the concepts of light and shadow. You will
learn about the core shadow, halftones, and highlights and learn how these concepts are
affected by the direction of light. You will also learn how to create a sense of luminosity
with reflected light. Having a strong understanding of the laws of light will allow you to create
believable artwork from life or from imagination.
got a real problem with it. I want to talk to you guys about tone and shadows. I have
a real issue with this. I teach at universities. They’re always starting with tone first,
and it really messes up the students. Tone falls on form. I’m sorry. It’s just how
it is, right? Light falls on form. And when you put a shadow on a drawing, and you only
copy the shadows it gives an immediate success. It looks good. It just looks good. Do we need
shadows? Of course we do. But don’t you want to have the form right? Don’t you want
to have it in the right spot? If you’re walking down the street and you’re not constructed
right and the leg falls off, that’s embarrassing. You’ve got to say, hey yo, where’s my
leg? How’d your leg fall off? I wasn’t drawn right. You know? I doesn’t work. Construction,
you know, how does it fit together? Light falls on the form.
It was about three months ago we were at the house. There were a lot of windows. It was
a moonless night and we had blackout. I swear to you that you couldn’t see your hand in
front of your face. I was looking for a friend of mine. Her name was Julie. Like, Julie,
where are you? There was a bunch of people? Like, Julie, where are you? I had to find
her because we had some stuff to do. I’m walking around like, Julie! Julie! I went,
oh, you’re not Julie. I went over here and went no, nope, not Julie. Where are you? Nope,
not Julie. Oh hi, Julie. What was I feeling? If you’re in a pitch black room does gesture
still exist? Yes. That person that’s in this room still has a soul. The story still
exists. Yeah, you just can’t see it. But it still exists. Do they still have shape?
Yes, they do. Do they still have construction? Yes, they do. Then when you put the light
on there you have shadows and shadows give you form.
We want to talk about shadows and values and edges. There is a wonderful book, and the
author says with the exception of the physical mixing of the color and the tactile of the
paint, everything else is drawn. That’s an atelier book. I’m like, wow, thank you.
So we want to be thinking about value on a scale from 1 to 10. We’re demo’ing it
for you like crazy, how the light falls on the form and the different edges, painting
value. It doesn’t have to necessarily be painting, but the computer programs today,
you actually start and you can light those 3D objects. I think you hit seven and it all
goes black. I’m just learning it now. Then you can put lights on it, and you can start
moving them around and put as many lights as you want. Is that painting? No, it’s
the 3D. You’re not painting. Is it drawing? No, it’s the 3D. You’re not painting.
Is it drawing? No, you’re not rendering. The computer is doing it. You can put the
different lighting on there. Is it lighting? Yes, it is. Do you have to be conscious of
the edges? Yes, you do. Are you physically doing the edges? No, you’re not. The computer
is doing it. So as the technology changes and grows, this still stays. Do you understand?
I’ll demo it for you.
So that’s value and light falls on form. Please learn this. Please. And please do it
in this order because I’m seeing the problems with it later. I’m seeing the students.
They can’t get their heads around it. I have to start two new classes. I’m teaching
four classes at two universities starting next week. Man, that’s like an exorcism.
You have to like bring in priests. You have to throw holy water on these kids. These kids
get nasty. I see kids with their heads spinning around, they’re spitting profanities at
you. They look at me and they go I hate you. I hate you. What? I’m only teaching you
to draw. I do tone. Your dog eats snakes in the morning. Your mother is…you’re like
why are you so viral? Because I’m the demon of tone. And you and I throw holy water. In
the name of drawing I get you. And they’re like I hate you. That’s going to be next
Friday. Do you know what it’s like to do that every semester? Why don’t we teach
drawing first then put the tone on top. It’s really easy. So that’s going to be our tone.
Buckle your seatbelt, people. We’ll get you there.
we’ve been learning and just apply them. If you can get these rocks down you can draw
anything. That’s one of the things that people say—I want to be able to just draw
faces. Okay, draw rocks and get those fundamentals down.
We’re using toned paper. This is Canson paper. Canson is an excellent paper. It has
a high cotton content which means you can really beat it up. Cotton is inside the paper.
I’ll do a lecture on just how paper is made for you guys. It has a very high cotton. There
are two sides to the paper. There is a rough and a smooth. I’ll explain that to you when
we do the paper on calendaring and how paper is made. Right now let’s worry about this.
This is a smoother side. I’m using a chamois, a kneaded eraser, soft charcoal, harder charcoal,
and white. I haven’t really done this before like this so let’s see how it goes.
Are you ready? Here we go.
First thing you want to do is you want to measure. You guys are looking at a split screen.
How many of these rocks make up the other rocks? You want to get a unit of measure.
So the bottom one, so when you measure you take the top and line it up with the top of
the measuring piece and use your thumb as the numbers. This will be like one, two, three,
four, however you want to do it. Don’t worry about it. Just whatever works. Close one eye.
Lock your elbow. I think that’s one of the most important parts. You want to lock your
elbow so you don’t get a variance. There we go. And we go one, two. It’s about two
and a quarter. You can actually measure one, so like here, like this is one here. I can
go bigger. One, two and a quarter, right around there. Something like that. I’m going to
use the chamois so I can get a tone on here that I can pick off. Here is the bottom rock.
This is the gesture. We talk a lot about gesture. Gesture is story.
Went over to Walt’s place the other day. Had lunch with an old student who is a big
shot today. He is the man. I was showing him another portfolio of one of my current students.
No different than when this guy was in school. And he says I want more story, more story.
And this is the story part of it right here. But it’s got to be accurate. And so we’re
looking at this negative space. We talked about the negative space. If it doesn’t
make sense to you go back to the video where we talked about negative space. Listen to
that poor child who is doing 20 to life for not paying attention to his negative space.
Then we can look at this shape in here, look at this shape.
This is also called the graphic footprint.
I want to avoid this industry talk, education talk. One of the things I do when I get to
the universities is I stop and I look at the classrooms. I’m not going to say that my
way is right. You know, that would be arrogant. But, oh many, why is it that all of a sudden
people walk into the classroom as instructors that all of a sudden they become scientific.
Man, relax. We want to just relax, enjoy. I’ll answer your questions. I can hear you
guys. I can hear you know. One of the questions that I’m hearing the most from you all,
and I can hear it right now—I think there is somebody in Kansas right now—is what
are the secrets? What is an artist’s secret? Well, that’s easy. I was thinking today,
see how this is the big graphic footprint. You see that?
This just tells you where the space is.
Okay, so they’re always asking what’s the secret? What’s the artist’s secret?
They’re always looking for the secret. I was thinking about that this morning. What
would be one of the deepest artist’s secret? And I thought, you know, here’s one. Okay,
so sometimes when I’m in the shower. Yeah, I do. Artists take a shower, but that’s
not the secret. Relax and don’t get perverted on me, okay? I’m just in the shower. We
do that every now and then. If you’re an artist and not taking a shower you’re probably
not working, okay? And if you are working you’re working alone.
Alright, so now sometimes, okay, so here’s my secret. Here’s the artist’s secret.
Sometimes like when I’m the shower and the shampoo is really low I add water to the shampoo.
My wife usually blames it on somebody else. Well, she knows it’s me. Then you don’t
have to—you know, because with hair like mine who cares, right? So that’s a secret.
Does that help you? How about this one? Sometimes when I put my shoes and socks on I don’t
do it in that order. Whoever came up with put on your shoes and socks cause then you’re
going to get holes in your socks because you’re putting them over your shoes, right? So, like
I put on my socks. So that’s my artist’s secret. Oh, secrets for this? No, there aren’t
any. They don’t exist. It’s fundamentals. Okay, so let me show you.
Alright, you ready? So here is the big spot right here. The next one is going to be cross-contours.
So this is your gesture. Just tells me the story. Boom, boom, boom. Negative space. Alrighty,
walking along. So now you can see this right here. This is telling me where the corner
is. You want to find the corner. We call it the side plane. It’s like that movie Poltergeist
with that little woman; she’s so cute. I guess you want to get creep somebody out in
a movie get a creepy little woman. I don’t know if it would have worked if she was like
this big woman. You know, this big woman going run to the side plane or I’ll kill you.
But this little woman, she’s like [creepy voice] “run to the light; there’s safety
at the light.” Then the mom is yelling,”No! No!.” This is a movie about a kid who gets
stuck in a TV set. It’s a real heartwarming film. There is a place where they move the
headstone but left the bodies. It’s a nice family film. It’s called Poltergeist.
You should rent it. In the movie the woman is in the TV looking for her daughter, and the
little lady is yelling, [creepy voice] “Run to the light; there is safety at the light.”
Well, what I heard was run to the side plane. There’s safety at the side plane! Okay?
So that’s what we’re doing right now. We’re running to the side plane. And the
cross contour is what shows you where the side plane is. See? So we want to get to that
side plane. If you’ve got to be some woman in this Poltergeist film to do it, that’s fine.
The next step is let’s find our lights. You can map in your shadows. But we also want
to be thinking about local values. So this is darker. The middle rock is darker. The
bottom one is the lightest and the top one is even lighter. So you really want to be
now thinking, so the first step is going to be getting your shadows down. I’m sorry.
The first step is going to be getting the big picture down. This is a graphic footprint.
The next step is going to be defining a shape, which we did. The next step is your cross-contour
so you know where your side plane is.
Definitive, absolute answers. I hear sometimes, you know, I teach a lot. The students tell
me that they’ll ask a teacher a question, and the teacher will say what do you think?
I think the teacher should—well, I don’t want to tell you what I want to do with the
teacher. If I knew I wouldn’t be asking you, teacher. What do you mean what do I think?
I think I want you to answer my question. What are the steps we need to do to follow
to get this done? What do we do, teacher? So I want to be very redundant and give you
an absolute. What this absolute is going to do for you is get you started. Then you add
to it. I call it getting your mind around it.
I’ve been working on learning this thing called Maya, and it’s the scourge of art
world. It’s designed to kill the artist. It’s 3-D digital. Now, I have four monitors
at home, you know, I have multiple computers going. I mean I spoil myself. But Maya, I’ve
been avoiding that like the plague. So it’s time. I want to use it in some of the stuff
I’m doing. I have been working until 2:00 in the morning. Last night I went to bed at
9:00. I never do that. I was just so tired because the night before I was up until 2:00.
Also, you have to eat a lot of chocolate when you do Maya so you can stay awake because
you’re so bored. But you know what? I finally got my mind around it and understand the process,
the pipeline. I think that’s really the key. So right now once I have the pipeline,
now I can just keep adding to it by buying more books, talking to more students who are
my teachers. You know, I train my students to be really good, and then I study with them.
Then from there you can continue to grow. That’s what I’m talking about here.
Notice I’m putting in my shadows, but I’m thinking local values also. So this value
here kind of matches the halftone here. So that will go like that. This will be the lighter
area here. This will darken. Up here is a little bit in-between. Here is the top of
the box. So again, first thing you want to do is story. I’m going to be super redundant
with you guys. Sometimes as instructors we forget what it’s like to just start out
like with the computer. I love it. They say hit control-shift, A-Z, backspace, backspace,
and then hit the hot key F5 all at the same time. I’ve only got 10 fingers. So that’s
the first problem. So I finally figure out how to do it. I bring in my neighbors. We
all hit the keys. Nothing works. What did they forget to tell me to do? They forget
to tell me to turn on the computer. What do you do when the computer comes on? You’ve
got to hit the sign-in button. Where’s that? So don’t assume we know anything. So again,
what is the concept? What’s the story? That’s the hardest part. If you can get that down
you’ll be successful as an artist. What’s the story? What are you trying to say? How
does it fit in the narrative? If it’s fine art what are you trying to say and how is
that going to fit with how you want to affect the world. Fine art affects the world. It
either makes you feel good. Fine art can make somebody feel happy. It can make them think.
It can define life. It could define why we’re here. What energy is, where energy comes from.
It could just be about how light falls on form. That’s all. Or temperature of color.
But you have a reason for doing your fine art. That’s gesture.
They do research about artwork in hospitals on curtains, how that affects the mood of
the patient. So that’s art, and that’s how that affects. Whether it’s in a movie
or a video game. How do you sell advertising? On and on in my case. I’m wearing a T-shirt.
I’ll explain it to you. It’s a fire T-shirt. What do we do and how does it affect? I never
wanted to be an animator. I wanted to be a fireman. When I was 13 I met my animation
teacher. It was at his apartment. A little different back then. You could actually feel
safer going into somebody’s apartment. My mom was there. She had met this guy, and he
was one of the old animators. He asked me what I wanted to do, and I said I’d like
to be a fireman. He said, well, what in the hell are you doing in my apartment. I said
I’d like to be an animator. That was it. End of story. Now I’m an animator. He trained
me. Boy, he trained me hard up until I was in my early 20s. I started working when I
was 19. His name was Edwin Rehberg, and he was my teacher. I’m paying that back. I’ve
had thousands of students, some of which are like my own kids. I treat them like they’re
my own kids. So now all these later I mean a gentleman and he’s a retired fire lieutenant
and an investigator. I’m going to lose this edge here. He looks at my work and he says,
oh, we’ve got to work together. Now I get to live my dream of being a fireman. Now I’m
doing fire reconstruction. I’ve learned all about fire and how it works and stuff.
Make these outside edges here very much different than these. A lot of times people mirror it
when they put in the outside tone. Don’t do that. Make it different.
Alright, so we’ve got that. So now I’m losing an edge. Never though in a million
years that I would be involved in homicide but I got recruited into homicide, and now
taking my true loves, which is animation, figure drawing, and anatomy—whoops, guess
what? I work in homicide. I get to reconstruct crime scenes based on anatomy. When you get
past the homicide part of it it’s fun. I can’t even go to a movie where somebody
is getting hurt. Of course, I love all my kids. But, something about reconstructing
that homicide stuff is pretty wild, and I love it. So you never know what you’re going
to be doing with your art and what story you’re going to tell. That’s the beginning. You
haven’t even put paper to pencil yet. You’re just trying to figure out why you’re doing
it. Do you guys all get that? Why are you doing it? Sit down. Put on some music. Pink
Floyd. If you want a buzz have a dark chocolate Milky Way and a Coke. It works. Get a buzz.
Relax. If you’re doing drugs you’re not going to be an artist. If you’re doing alcohol
you’re not going to be an artist. Alcohol and drugs do not work. They do not help your
art. They destroy your art. But a dark chocolate Milky Way can change your life. Sit back,
relax. Listen to some music and come up with your concept.
Next step; what’s the graphic footprint? How does it fit on the page? Next step; define
your shapes. Look at your negative shapes. Look at your negative shapes. They’re very
important. Go back to the video where we talked about that young kid. Next step; start looking
at your side planes so you know where your side planes are. Or put in your local values
first. These are interchangeable. Putting in your local values so that it tells the
graphic story—what’s dark, what’s light? I am the whitest thing that exists. If I’m
on the beach and it’s a bright day and it’s really white sand you’ll step on me. I do
not, I blend in. So my local value is so white it’s clear. So what’s your local value?
Local value of the shirt versus the skin versus the bracelets. What is the local value? That’s
where we’re at right now. Now we know where our corners are. Next step is going to be
hitting our corners and casts. That’s going to give us our defined. These are our lost
edges. We went over edges in one of the videos. Go back and take a look at it.
It’s in the fundamentals area.
of a lost edge is when the subject matches background. When your subject matches something
that’s behind it that’s the same value and same color that’s a lost edge. That’s
it. You squint and it goes away. Look at the great masters. They use them a lot. Now, what’s
my center of interest going to be. I think it’s going to be here and here. There is
the most contrast. The eye goes where there is the most contrast. Here, here. Where are
you looking? You’re looking here, right? You’re looking here. Now, where are you
looking? You don’t know. So we want to make sure that we have the most contrast. In a
film this is where we’ll kill somebody’s mother. You have to do that in an animated
film or you no longer have an animated film. Say Mama, Mama. Anytime a character comes
out and says Papa, Papa, you know they’re going to die. That’s it. They come out and
they go, [child’s voice] Papa! I love you, Papa. That’s it. If it’s a mouse we’ll
find a mousetrap. We’ll get him. Destroy the five year old. One of the things I always
say is you know you’re successful as an artist when you can make a five year old cry.
It wasn’t my invention.
Alright, I want to get rid of as much of this charcoal as this can. Now I want to key it.
So here’s, okay, this is working. This was the panic. Make sure this takes. So that’s
going to be the lightest part of this then the green is the halftone, and then we have
the charcoal which would give me the cast shadow, core shadow, reflected light, which
I’ll describe. This is going to be the lightest area down here. Actually, my composition allows
for this to go behind. You want to connect. In my books I say that your light should move
through the drawing like water over a mountain, water down a mountain. If you’ve ever gone
to Alaska you will see in the misty shores waterfalls. The entire you go through, you
know you go to some places. You say, I saw a waterfall. You go wow. You go to Alaska
you see a lot of waterfalls. It just flows down that mountain. Just barely touches the
mountain as it comes down. That’s what our eye is when we’re looking at a painting,
when we’re doing our painting. We want the eye to just float down.
Alright, so now here we go. When we put these strokes down, now we’re putting our key
in. But we’re going to go lighter here. We want to make sure that they flow. So this
is where we use this the wave. You’ll go back and take a look at the waves. This is
where we’re going to do the wave, okay? So we’re going to go this way. Here is the
end. Then you can cut this way. When you get to the cast shadow here the light goes right
up against the shadow because a cast shadow is like a five year old. You guys ever notice
how when you pick up the phone—parents, now I’m talking to the parents. When you
pick up a phone the five year old knows immediately that it is time to interrupt. As soon as you
pick up that phone—you go, hello? Then you hear the five year old go mom, mom, mom, mom,
or dad, dad, or dad. Like, I’m on the phone. I know. I was actually busy, but when I heard
you were on the phone I had to interrupt what I was doing to come and interrupt you, mom,
because that’s my job. I’m a five year old. That’s what I do. Five year olds interrupt.
The cast shadow is like a five year old. It goes over anything. So I can have anything
I want here. That cast shadow is casting over it. So that means that the light goes right
next to it. But if you notice in the halftone area down here the light stops, and then it
goes into the halftone. Then it goes into the core. So let’s go ahead and hit this.
One of the things that they talk about—it’s kind of an ism. If I say it’s an ism then
it’s kind of a passed down art term. So an ism is revisit your drawing. You will lose
your drawing. Lose the drawing, lose the drawing. So if you notice I’m constantly going back
in and doing these cross contours. So I know where I’m at.
Okay, so this is kind of establishing my locals. Actually, this is like figure drawing. I’m drawing on the actual surface. The light
is coming this way. We’re using a soft light here. These are hitting the parts that come
up. The light is hitting this plane. Remember, planes are like carving. It’ll be your sculptures.
So where the light hits the plane, and then it turns, turns, turns. So think of planes
as sculpting and you have planes. Like, this is the top plane here. This is the side plane.
So it goes top plane, side plane, and then you have subplanes and facets.
Now, the green that’s coming through, that gives us halftone. So negative space actually
shows up in your halftones also. So right now I’m really hitting my negative space
coming back here. Lost edge there. But this within the lights to the halftones, those
are also considered negative spaces. So really be thinking about that, you guys. Now we know
that I’m from LA so if I say guys I also mean ladies. There we go.
One of the things I have college student ask me a lot—can women survive in this industry.
I laugh at them. I do this. I go haha! I laugh at you, haha! When I think back in my career
both in the film industry and in advertising and working with marketing people, VPs of
marketing. Very few of them are, the people I answer to, very few of them were male. So
the question is can men survive in this industry? Of course, it’s against the law to ask if
you’re male or female, although if they can’t figure that out maybe they should
go back and take a health class. But yes, definitely be thinking that it has become
a genderless world, and women are smarter anyways.
I have all daughters so I think all women are smarter.
Okay, so I’m hitting this core. Now, let’s stop. Everybody stop. Wake up, stand up, move
around a little bit. Now listen very carefully: Notice how this core shadow is uneven.
See that? The cast shadow can be a little straighter because we want to do contrast. Let’s make
the core shadow uneven. It’s kind of moving up and down and around nooks and valleys and
stuff. You’re reflected light cannot be as light as your halftone. So this is my halftone.
Reflected light needs to be darker.
Reflected light, if it’s too light, will kill the form.
Okay, so now we’ve got that. Let’s jump up here. Now, what we’re going to do here
is we’re going to hit a contact shadow. Notice how I put a little dark right here?
That’s the contact shadow. You’re going to have two casts. One is going to be your
cast shadow. One is going to be the contact shadow which is right here. This is balancing.
It’s coming in right here. It comes this way. Always continue to plus the drawings.
If you notice I wanted this to balance so I’m going to pull this in this direction.
I’m altering my drawing a little bit.
I’ve talked about in previous videos, if you’re one of these people that has to be
perfect, I don’t want to work with you. Too much pressure. So I like to have the freedom
to make mistakes, to make changes. So that’s the contact, and it’s going to move out
into the shadow. So light is starting to fly in here. We’re going to go here. So we’re
starting to get polluted by light. If you’re a drug dealer, this is pure, uncut shadow. This
is being cut with light. Somebody out there is going, I get it! Arrest that person.
Alright, there we go.
Again, if you’re an artist and you’re doing drugs because you want to be creative
you’re not creative. Now we’re going to move back up because I want to keep moving
up and down and see the entire picture. Maybe we’ll go like that and start bringing it
together. This has a darker local value, but in the light if you squint it’s pretty much
the same. Squinting, the definition of squinting is when you close one eye and look through
the other. You want to close one eye and squint the other eye. That means you just kind of
bring your eyeball, bring your eye down and down and down until you only see the light
and the dark. That’s a good way of showing the values. Because I’m a daydreamer by
nature I can squint without closing one eye. Here’s my core. Cores are soft. Soft edges.
They are soft because it’s turning. Okay, it’s where the light turns. It goes away
from the light. So it’s turning, you see? So because it’s turning that is a soft edge.
Where you’re cast shadow is rude, it’s casting a shadow on the subject so now we
have a harder edge, that’s all.
to put a hard edge against the background. Hard edge means that—the definition of a
hard edge is that this against this is sharp. It lightens as it goes away. We’re going
to have a little light sneaking back here. Not too much. If it do too much contrast back
here that’s going to come towards the camera. We don’t want to do that. We want this to
soften because it’s going away from us. See how dark that is back there. It’s bringing
the eye forward. You take this little kneaded eraser. I always like to have a cheerleader
on my shoulder and she’s going push it back, push it back, way back. Okay. Push it back.
Kill your chroma. Grays are your friends. Soften your edges unless, of course, it’s
where you want the audience to see, which would be right there.
There is a lot of history when you’re doing rocks like this. You know, there is a saying
that you really can’t draw the human figure unless you can draw rocks. I think they’ve
done a lot of history with that. A lot of music has been written about that. I think
one of the great songs from the Renaissance kind of went like this. She is a brick house.
Let’s get into the meaning of that. Definition of she would be being a female. So she could
also be anything, but I think because they were singing about it, I don’t if I—I
mean if a canine did it would be almost like “ruff, ruff, ruff.” It wouldn’t have
the same kind of sound to it. So because it’s English I guess we can reasonably believe
that we’re talking about a homosapien. So she meaning a female homo sapien; a brick
meaning something like this; house which is the technical term of she’s in the house.
So if you were saying she’s in the house, like Julie’s in the house. It means Julie
is hot because she’s in the house. So clinically speaking in the academic term, she, meaning
female, is a brick house. That means she’s attractive. I think it’s important we learn
how to draw rocks. How’s that? Do you believe it? Oh Sheldon, you’re so silly.
Alright, here we go.
Yeah, when you’re drawing a portrait, when I’m drawing a portrait this is really all
you’re thinking about. Fundamentals. Okay, so now this is lighter. The local value is
lighter. Notice how we keep repeating the same thing over and over again. You’re so
redundant. Really, really? You think so? Really? Really? You think so? Is that bad? You’re
so redundant! Really? Work the whole drawing. Really? Local values, local values, local
values. It’s the value that’s between the area. This is the local value here. It
would be local value. So it’s really—really is it lighter? Really? Local value. Local
value. Come up with a different name for local value. It might be a little hard to remember.
What would be another name for that? Let’s think. What would be the local? I don’t
know. We got to figure that out. I’ll come up with something.
Again, the green of the paper is the halftone. This is catching the light. Halftone here.
Core shadow. Reflected light. Let’s talk a little bit about reflected light. Do you
remember the famous story about the person who goes to the doctor because they saw a
photo of themselves. In the photo they looked all green so they thought oh no. I look all
green. I must be ill. I must be sick. So they went to the doctor, and the doctor looked
at it. Luckily enough, the doctor had taken some art classes and said, no, you’re standing
in a green room. All that reflected light is what is making you green. And the person
said, oh, thank you, doctor. I haven’t slept for weeks.
Okay, so if you’re in a green room you’re going to be green because the light is bouncing
off and it’s coming into you as reflected light. So you could put like cool lights on
the front, warm on the back. You know, you could have some fun with that. Just know that
reflected light means that the light is hitting and coming back in. Just let’s make sure
the reflected light is not darker than your halftone. Light is coming this way. Hard edges,
soft edges. But this is darker. This is lighter.
Now, up here is the co-star, which means it’s not getting the same screen credit as this. Guiding the eye. It’s like
water running down a mountain. This area here is all local because it’s in the shadow.
Returning. Push that back. See what happens is you go like this to get around this rock.
Then the negative space. You know, the shape in the back starts to mirror that. Then you
get this kind of halo. The viewer will see the halo and not your subject. So, you could
go like this so you can get it around there, but then pull it out. Make it different. Go
diagonal. Do anything so that it doesn’t interfere with this shape. They need to be
different. Otherwise, people don’t know where to look. Lost edges. Lost edges are fun.
They’re bringing the viewer’s eye in.
Every brush stroke you put down, every pencil stroke needs to move the narrative. It needs
to take the narrative forward. You know, I teach at a film school. I teach at Chapman.
What we do is we’re constantly talking about how does the drawing, how does what we do
push the narrative? How does it push the story? That’s what’s fun. I was brought into
Chapman to teach them the 2-D because they’re so strong in the digital. They realized that
2-D and 3-D are the same. You kids are getting it. So every stroke you put down pushes the story.
This is kind of a feel of wood even though it’s a rock. Now, the light is turning
so I’m going to have a core shadow here. There’s your reflected light, your cast.
So I’m wearing a fireman T-shirt because, as we discussed, I work in arson.
Sometimes I wear a police T-shirt. I collect T-shirts because I work in homicide. Sometimes I wear
a Catalina T-shirt because I’m the Vice-President or soon to be Vice-President, I think. I’m
definitely right now a voted board member for the Catalina Art Association, which is
a fine art part of my life where I actually have a painting hanging in people’s homes.
One of my paintings is hanging in one of the Wrigley mansions. So I like T-shirts. I also
like having fun as an artist. You can do a lot of things. It doesn’t have to be just one.
These are the little cross-contours that you find in the Renaissance, and they show form.
So when I put these lines down these are cross-contours. They show the form. I am drawing on top of
the rock. This right here, later on when I teach you figure drawing, will be the side
of a rib cage, the side of a pelvis, the corner of a cheek. So, we want to get it on the rocks
with the simple shapes first. People get frustrated. They go I’m having trouble drawing the figure.
It must be my technique I’m using. No, it’s the drawing. Why I am having trouble drawing
the figure? Because it’s the figure. It’s hard. The human figure is impossible and you’re
starting with that? Are you crazy? Start with a nice, simple shape. Then when you draw the
figure then you think of it only as these shapes. Box shape and the sphere shapes.
That's it. That’s all they are.
Leonardo da Vinci, I remember when we were in high school he came up with this quote.
It’s been there forever. I said, Leo. That is a kick-ass quote. And he said, kick ass?
You kicking donkeys? I said no. It’s a term. It means good. And he said oh. The quote he
did was “Learn all your anatomy. Learn everything and just draw three shapes.” I said, you
know Leo, you talk good, Leo. He said, well, thank you. I said, you know, the only thing
is, Leo, I think you could use a better looking girlfriend. Mona, as nice as she is, dude.
She was hit with an ugly stick. He goes, yeah I know, but her dad is rich.
Okay, there we go. Okay. You can just keep working it and working it and working it.
it’s worth repeating. I love going to the Getty. One day I went, and when I draw I get
super relaxed. There is an arrow pointing direction of your composition. So I fell asleep.
When I woke up it was so quiet. I looked at my watch and it was about 2:00 a.m. Somewhere
right in there, 2:00, 2:30. I don’t know. I was really tired. I went oh my. I am locked
in the Getty alone. This is so cool. I mean it’s like so cool. And My favorite room
is the Rubens room, and there are a lot of paintings on the walls of somebody who is
having a really bad day. They don’t like this guy. They painted a lot of it. What happened
in this Rubens room was as I was walking around I heard this voice. I was just having fun.
You can actually get close to the paintings without having somebody go, sir, step back.
What I do is I put my hands in my back pocket, and I get really close to the paintings. This
is actually true. They always have these guards. They walk up to you, sir, can you step back?
What am I going to do? Lick the painting? My hands are in my back pocket.
Alright, so I get back.
Now I’m all alone and I’m walking around, and I hear this voice.
[whispers] Sheldon, Sheldon.
I’m looking around.
[whispers] Sheldon, Sheldon, Sheldon.
Well, there are only three people in the world named Sheldon so I’m thinking this is weird. It’s not
like they’re going Bert. There are a lot more Berts than there are Sheldons. I go who is that?
[whispers] It’s me, it’s me.
Alright, who’s me.
[whispers] It's us, us, us.
Okay, who is kidding me? Who are you?
[whispers] The masters, the masters, the masters.
I said, what do you want?
He said, [whispers] do you want to know our secrets? Secret, secret.
Like, well yeah, I’m dumb but I’m not stupid. Sure.
They said, [whispers] go into the next room, next room.
So I go into the next room and you know what I see in the next room? Still lifes.
So I go back in the Rubens room and I go wait a second. You mean to me that you know everything
you know from drawing still lifes? They said, [whispers] yeah! Well, they usually said something
that starts with an F and ends with an A. I said, really? They said yeah. Everything you’re
going to know comes from still lifes. I never paid attention to still lifes, really paid
attention to them until we opened up our own school. We have Sheldon’s Art Academy. The
reason why we call it Sheldon is Sheldon just means Jewish mom. It’s a place where the
kids are cared for. We have more people than me working there. But the weird part is when
I open the school you have little kids there. You can’t do a lot of naked people with
little kids because they go, ooh, they’re naked. Right? Although, we do have little
kids that are drawing, you know, you get permission. But I started doing these still lifes and
I realized, oh man, the still life is where it’s at.
So we’re going to do another still life.
Notice how I’m doing this lay-in. I’m really measuring this corner to this corner.
See? I’m holding my pencil up. I was holding my pencil up while I was talking to you about
this true story about being locked into the Getty. For those of you who are not local—maybe
you’re from Kansas which is everywhere else but LA, The Getty is this beautiful museum
that’s up on a hill with the 405 freeway. Beautiful artwork, really gorgeous. So you
go there. It’s free. You just pay for parking. They go, we have a free museum. We’re just
going to charge you a billion dollars for parking. Oh okay. There we go.
Alright, there’s my lay-in. There a lot to block in. Figure out my grapes. I have
a straight here. I put that curve. Let’s go straight. A little bit more interesting.
So I’ve got that straight, curve. Curve, curve.
This is a triangle shape.
Alright, that’s my lay-in. I’m going to have to come from behind. So I’ll go this way. You
can use arrows, guide the viewer’s eye. Then we have this coming down. I can see the
top of the vase. So that tells me that my eye level is up here. I’m going to teach
you guys perspective this way. So that’s our eye level here. This is a wider base here,
so if we draw a line straight down, if I go like that I can look at my negative space.
The negative space will be this shape. I can draw that.
There’s my lay-in. First step. What do you want to say? Well, it’s going to
be a moody piece. I put the white paper on the bottom to give some contrast. But it’s
a moody piece. I’m going to do the same technique I did for the rocks, which was done
on a previous lecture. You can tell the rock video when you look at it on site because
it’s not a naked woman. Now, if you look at those rocks and you see a naked woman,
um, go see a therapist.
Okay, here we go. Now, the next step is to come up with the mood. This is going to be
very mood. We’ll kill something here. This will be for a film. So we’ll probably have
a little mouse that will come around this way, look up at all these grapes and go, Papa!
If you say Papa and you're in an animated film you’re going to get offed, okay? They’re
going to get you. They have some weird hit man thing in these animated films. So the
little mouse comes around and goes, [childlike voice] Papa! Look at all the food! There is
a God! Right, they’re going to say, cut; that’s a print and there you go. Then we’ll
kill the mouse. Maybe a cat will come in and attack the mouse or something. I don’t know.
It’ll get shot by a hunter. They like to shoot them by hunters or something like that.
Really, if the mouse just ate these grapes that would be all we need to kill the mouse
because the grapes are made out of plastic. You can only eat so many plastic grapes. It
kind of messes with your digestive system. So this is dark. It’s going to be a very
mood piece with a lot of light right here. Then we’re going to want to guide the eye.
So we’re going to use these grapes to guide the eye.
We’re going to use the lights on the grapes.
Where you're going to use that a lot is going to be in your—when you’re doing a portrait
you do a composition. Take a look at the great masters. Beautiful, beautiful compositions
where they have a lot of figures. The faces will move. This face to this face to this
face, and this person looks back this way. And that’s how they guide the viewer’s
eye. You can also see that in movies. My favorite is Fiddler on the Roof. When they’re doing
the bar scene and they’re dancing. Man, really look and see how those masters, you
know, the directors they move your eye. Fine art, same thing. There is no difference when
you’re working with the fundamentals. I always laugh because the fine artists say,
oh, you’re a commercial artist. You’re the bastardization of art. Okay, that’s
fine. Then somebody offers the fine artist $20,000 to use their painting on the cover
of an annual report, and they go I’ll take it. And then somebody offers them $20,000
to put their painting on the cover of an annual report, and they’ll go sold! Wait a second.
I thought that commercial art was the bastardization of art. Yeah, well, that’s different because
I got bills. There is no difference between commercial art and fine art. It’s all the
same. It’s all the same. Film industry and the old masters, same. It’s all the same,
just fundamentals. Then you just choose what you’re using it for.
At least we know the fundamentals.
There is your lay-in. What I want to do is I want to push back the vase and have it come
out of the background. It’s coming out towards us. Then the grapes will be coming in front
of that. And then the strongest part will be here with the contrast when we put in the
white. We have some very long shadows which will be really pretty off of the grapes. When
we start doing technique I’ll show you in watercolor. I’ll put a water mask here and
I’ll float the color. It’s really exciting to do, and you’ll just see. And I can put
in like three different colors in there. Just have those shadows. All the colors in the
piece I can put in that shadow. It's really pretty.
So now we’ll go here.
Here we go.
Lose these edges.
There is my lay-in.
First step is cranium. What are you thinking?
First step. How long does that take? It could take a week. It could take an hour. It could
take a month. It could take a year. But you’ve got to know why you’re doing your piece
of artwork. Sketching, even when I’m sketching I’ll say I want to sketch for direction.
I’m going to sketch for composition. But you want to know why you’re doing it. It’s
really important. Second. What is the mood? What’s the narrative? What are trying to
say? In this case it’s going to be very moody. It’s going to be a mood piece. It’s
very dark. What are we selling? We’re selling this area here. This is where the contrast
is going to be. Everything else is going to blend back. What’s the graphic footprint?
Right here. That’s going to be our gesture and shape. Gesture is energy. This is the
shape. Is it interesting? Yes. Uneven, negative shapes. Very important. Sharp against soft.
Sharp against soft. That’ll give us our contrast, contrast and affinity. As Bruce
Block says in his book. And then local values. Okay, let’s move on to the next level.
There is a lot of reflection coming off of the white into our vase.
We'll probably only use the eraser because I want to reserve this area here for the white.
bucks a sheet. It’s beautiful paper. We’re using a Pitte Faber-Castell soft, white pastel
pencil. I’m using this charcoal I found. I don’t even know where I got it. But it’s
Conté and I don’t usually use this so it’s kind of fun. This is a fund charcoal pencil.
This is hard. I usually like the medium. We sell these at our school, but you can get
them anywhere. It’s Prismacolor charcoal. The Prismacolor is fun. It has a slightly
waxy feel to it. This is a chamois. You can just buy it in any store, cut it down. This
is sandpaper, which you can find at the sandpaper store. That’s where you are doing that.
If you don’t know where to find sandpaper, just Google www.sandpaper.com and they’ll
tell you to get out more often because you can find sandpaper anywhere. I try to avoid
anything that’s a tool that’s not an art supply. Like sharp things. Screwdrivers are
sharp so I try to avoid those. Unless I need it for my art supply stuff. Pliers are good
for opening paint but that’s about it. If I want fresh air I Google it because I’m
animator. We don’t usually get out very often. Just about everything is in my head,
which is funny because I’m really social.
People realize that it’s all in my head and it’s weird.
Okay, here we go. We’ve got this. We count over one, two, three, and a little darker
right there. So I’m just doing value here. Not a lot of line because
I want this to be off in the background.
Don’t get me wrong. I have parents out there. I can hear you right now.
My kid needs to get off the couch and get some exercise. Yes, of course. Kids, get
off the couch and get some exercise. Most artists aren’t necessarily into sports.
Go to the gym. Get on a treadmill. Get out and run. I occasionally like to do the Rocky
thing. I go to the local butcher and beat up beef. It’s pretty cool. Okay, I don’t.
There we go. Go for a walk. Go for a hike. Get out and exercise. It’s real important
especially for the artist. I have an elliptical right next to my desk. So all my phone calls,
everything is done on the elliptical. I just tell whoever I’m talking to that the heavy
breathing is not for them. It works out pretty well.
Have a balance in your life as an artist. You can definitely be married and have children
and be an artist. You can definitely make a living as an artist. I teach so much that
my students end up being very close friends. I don’t go out with them. We don’t go
hang out. But you know I spend so much time in the classroom I really enjoy them. When
I get home I just like to sit at my desk and work. One thing I don’t do when I’m working
at my desk is what I’m doing right now. I don’t sit and talk to myself. So usually
pretty much in your own head. Right now I’m talking to you.
See, it’s all pushed back. Working with the positive and negative shapes. Very soft.
Really, I promise you if you do this when you get to the head drawing it’s going to
be so easy. When you get to figure drawing, so simple. We’re putting harder edges up
here. When you’re doing reflections you want to think about what is reflecting. In
this case it’s these big lights. Remember the old story about the drawing, the painting
teacher walking around the room and not understanding when they look at the student’s work. You
know, they’re not understanding what’s going on. They look at the model because it
just doesn’t make sense. They look at the model and the shadows on the model don’t
make sense. The teacher looks over at the light source, the skylight, and there is a
cat sleeping on the skylight. So that cat was casting a shadow onto the model and everybody
is copying it. That’s not cool. The cat loved it. Got all this great credit. Actually,
the cats is very famous today. Went out and got an agent and all this licensing. You see
these T-shirts, you know the cat on the skylight T-shirt. It’s doing really well. The artists
are unemployed but the cat is doing great. Don’t copy. Think.
Alright, so we’ll tighten that up later. Really want to hit this edge here. I’m going
to lose it. Wouldn’t it be fun to do a whole series on doing really bad things to cats
because everybody loves their cats. In class I know that if I want to Get the attention
of the students I just have to say bad things about cats, and they get really mad at me
and it wakes them up. I have a whole series of the muscles used to kick a cat. The kick
the cat muscles. And it’s really cool because the class wakes up and they go “we hate
you for kicking cats,” like I go out and kick cats. But it wakes them up.
The cat on the skylight T-shirt. Pretty cool.
Alright, so here we go. Pushing this back. A lot of times artists use stumps instead
of their fingers. The reason why they call them stumps is there was an artist who liked
to rub their drawings a lot, and they rubbed them so much that they wore their finger down
to about here, and the doctor said, wow, your finger is a stump, and that’s where they
got the term stump from. So just rub very light.
Do you believe that story? Tell you some more?
So far we’ve used no lines or charcoal in the back. The reason for that is we want
that to be pushed back. Okay, so we have our lay-in on the background. We’re going to
play it—I’m going to see. I might have to put some white chalk on here just for the
contrast. But let’s get into these grapes now. This is where silhouette is really going
to play. Now, if you’re sitting there and go, boy, I’m really bored. I don’t want
to draw grapes but you eventually want to do a painting that has anything in it that
has multiples, now is the time to learn it. Multiple figures. Multiple flowers. Multiple
anything. Now it’s time to learn.
They’re only tools. Whatever you’re painting, it’s only for tools. It’s got to be
what you love. I love drawing figures. I love anatomy. I can do it all day long. So for
me it’s all about that. What we’re going to do now is we’re going to guide the eye.
The center of interest will be here so I’m going to put more grapes there. Then we’re
going to come back here and do almost just a silhouette. Each grape is going to have
a highlight, halftone, core, reflected light, and cast. Some of them more, some of them
less. This is also a really good exercise in how to edit. You don’t draw every little
thing. Now, as we go back they become just the shape. Guiding the eye. We’re going
to do a big one here. This one is going to be pointing up. So that would be a figure
in the Renaissance pointing behind it. It’s just a shape.
Now, this one—there’s a grape
over here pointing away. I’m going to go straight. This is going to animate.
Boom, boom, boom. Pull around this way. Leave this alone.
We’ll put this off into the dark.
There is an interesting when you’re drawing and painting. Sometimes you go to a museum
and you look at a painting that is so detailed. Everything is thought out. People look at
it, and then next to that painting is one that is very bold and hasn’t really been
finished. People go crazy and they really, really look at it. You start wondering, what’s
the difference? The difference is that in the one that’s not finished the viewer gets
to take a roll. They get to play a role in the painting. They get to also finish it.
I think that’s why nonrepresentational work does so well in the house. A friend of mine,
he’s a successful guy. He’s got some beautiful artwork in his house. I go, what do you—it’s
nonrepresentational. I guess they would call it modern art. I go what do you see in there?
He goes I see a musician. It was all these things he saw. I don’t see that. You want
to let the viewer take a roll and become part of the artwork.
not. I like more finished work. But I like brush strokes too. My favorite artists, you
know, of course Sargent, Zorn. They have a lot of brush strokes. My favorite painter
in the world is Pino. Look him up. I used to buy his book covers. I would go in and
buy these romantic books because he did romantic book covers years ago. I was just studying
in school. As I was walking out the store I would be tearing off the book cover. As
soon as I got there I’d throw the book in the trash can and then I would just study
those book covers. Copy them, paint from them. Pino, what a master. I love his work.
Now, let’s put in our core shadows and our cast shadows. This is our halftone already.
So we’re going to put in the contrast of what we want the viewer to see. The core,
reflected light, cast. Core, reflected light, cast. Light is coming in this way. This I
might just go very subtle. This is one that we we’re animating. So this is here, here.
I’m just putting in cores and casts. I’m adding contrast. Contrast guides the eye.
These core shadows are going to animate here, here, here. Animate means it moves. This one
goes this way. This one continues and that one continues. The audience doesn’t know
why they’re looking but they are. We are controlling them. Imagine if you will, a world
where everybody is controlled by the artist. Oh no! Not controlled by an artist. Artists
are strange people. They wear strange clothes and listen to strange music. They starve.
Oh no, I do not want my child to be an artist. Oh, to wake up every morning happy? Never!
Oh my God, how could we do that? I bet you that you do drugs. Actually, I’m an artist
and I work late, so sometimes I get a headache and I have Tylenol. The next thing you know
you’re going to be drinking Coca-Cola. Oh no, not Coca-Cola! That’s the devil’s
juice. Ooh, the artist. The artist, let’s see, they’ve been around forever. What did
President Lincoln look like? Well, we can go to the movies. What do they know? Who’s
the one who painted President Lincoln? The artist. Well, they did it for free. Actually,
they didn’t. They were actually paid very well. How? They are artists? How could you
pay them? Because they asked for it.
Oh no! You mean to tell me that artists can do pretty well? Yeah, actually they do very
well. Really? The funnest thing about being an artist is when you go to a party. If you’re
a doctor and you go to a party everybody has, you know, they always have to show you their
problems. Oh, you’re an artist? Can I show you my problems? Oh sure. What kind of artist
are you? I’m a gynecologist. Never mind. That was horrible, Sheldon! I know but I gotta
wake you up. There we go. So if you’re an artist and you go to a party the first thing
people say to you is I have an idea for a children’s book. And I will let you illustrate
it, and when it makes money I’ll take care of you. It’s going to be great. It’s going
to be great. And when you hear that run. I have this idea. I usually say, now, what do
you do for a living? Oh, we remodel kitchens. Okay, cool. So when are you going to come
over and measure my kitchen to be remodeled? Excuse me? Yeah, well, you’re asking me
to do some free artwork for you so I thought maybe I’d remodel my kitchen and have you
come over and do that. Oh no, I’m sorry; we’re going to have to charge you for that.
Oh, but you get your artwork for free, huh? I know how you roll.
Then you always get the people who want stuff donated. I just make them stay. Alright, we’re
going to start tonight around 7:00. We should done around 2:30 in the morning. Oh, well,
I have to go to work tomorrow. I can’t stay that late. Oh, well, I have to go to work
tomorrow too, and you’re asking me to sit and do your artwork. It is important, I think,
to donate a certain amount of artwork a year. I think we’re very lucky to be artists.
I think it is a fantastic life so I like to donate a certain amount of it. Sometimes I
do too much. The local school, I designed a cartoon character for them. They made a
fortune off of it. It was crazy. Of course, I got nothing. They put that character on
all the clothes, everything. It was amazing. Just know that my wife hates it. She has a
saying, she goes the free jobs are the ones that are the toughest. They just don’t know
how to buy the art so they drive you crazy. You work with somebody who buys a lot of artwork,
they know how to do it.
Okay, this is cast shadows on the ground. This is going to have a harder edge. Again,
when we paint we could put all the color in here. If I was doing this with pastel I’d
be doing this with massive different colors. I could play with people’s head with color.
I’ll put a green next to a blue, I mean a green next to a purple. It usually shows
up in the courtroom. Cause of death. The artist put a green next to a purple, and the person
who was viewing the piece started getting agitated. They didn’t know why. The person
next to them made a comment that was unfitting, and they murdered them. Cause of death, broken
color. So right now I’d be putting greens next to blues and purples next to oranges
and driving the viewer crazy. They won’t even know why. Right now I’m working just
in value because I’m using contrast. Lost edges, guide the eye, guide the eye.
Now, here’s the important thing. This is Sheldon and this is a Frappuccino. You want
to get him there. Okay, so you want to cut your way, you know, like those kind of fun
little games. Get him there right there. The light is getting me there, but the darks will
also get me there. So let’s do this. Let’s lose some here.
I’m going to go back.
So this gets lost and then all of a sudden whoo!
And all of a sudden we have highlights again.
Then that comes back.
When we opened up our school, one of the goals was that somebody who is living
away from the industry. When you’re in LA, New York, these big areas you’re living
close to the industry. So it’s really not that difficult for one of the industry people
to come in and teach a class. But when you’re in some rural, way far away it’s really
difficult. You know, if you’ve got a house here and the next house is 20 miles away,
you know, you get some kid. My goal was that some kid who was just born an artist and was
just dying to learn could get the same education as a kid who just happens to be born next
to the industry. And the really fun part is that when we started our school we started
doing the online stuff as Sheldon’s art academy. We got a phone call. It was from
a kid who was living on a farm, and that was it. It was so satisfying. We gave that kid
all the attention. What do you need? And made sure he got everything. Those are the kids
who make it—because they’re hungry. To survive as an artist you have to be hungry.
It doesn’t mean that you’re starving. You’re just hungry to learn and that’s the key.
Try to see what I’ve got going here. Sometimes I’ll talk to a student and they’re
just not hungry. Not, you know, that passion. One of the comments that students make that
makes me go crazy the most is what can you tell me that will make me draw more?
I don’t know. Change your major?
You can study every day of your life and only scratch the surface of what’s out there.
A friend came by my school the other day.
He’s a doctor. He says I have anatomy books for you. I don’t use them anymore.
Yeah, yeah. So I have medical books that I read.
I’m not a doctor. You know, if you have
a problem I guess you can come over. I have an Exacto knife and a lighter. I can do some
exploratory surgery. As long as you sign a release.
I know how to cut but I don’t know how to sew. As long as you don’t mind walking
around with your parts falling out.
We have a lot of history as artists of cutting people and stuff. You know, I’ll do it for you,
but again, you want to let me know that it’s okay in case it doesn’t work.
But I love looking at dead bodies. It’s kind of cool.
The whole idea about dead bodies is that they are—
people can ask you what you do for a living and you can say still lifes.
So we’re continuing to push the narrative and guiding the viewer’s eye.
One of the things I can do is I can put highlight and really sharp.
That’ll do it. That’s starting to take the viewer.
You want to be careful with these. You don’t want to put too many.
One of my favorite bands is called Yes. And there is a concert, and it’s the
Yes band with a full orchestra. In that orchestra there is a song and it goes—uh, I can’t sing.
But they have a triangle. One person is hitting this triangle. With this entire
band and this full orchestra, does that triangle make that much difference? Oh yeah, very important.
So these highlights are really important, and they stand out
so you want to be careful where you put them.
Tighten up this shape.
What I’m going to do is I’m going to change a little bit.
It really doesn’t feel like we want to be seeing the bottom of this, so we’re going to look up.
Eye level will be right here. Are you allowed to do that? Yep.
I want to go shadow under here.
Start hitting some hard lights here just a little bit.
Like that edge here.
Push the eye back up like that.
I’m always thinking animation. Go this way, this way, and then come back around.
Alright, so we’ve got that.
I can lose an edge with the white, this highlight into the background.
Do the same here.
Just playing with edges right now.
If I get quiet when I’m working, that’s
usually when I’m daydreaming, and I really get lost.
Sometimes my students have a hard time believing that I’m not at home talking to myself while I’m working.
I can go for days without speaking
and just get lost. Especially if you’re doing some serious work. Animation,
painting, working the cases that I work on. I get lost, just totally different world.
Okay, what I just did is I stepped back. There’s an old saying. I have all
these old art sayings. In front of your canvas should be this path in the carpet or the ground
worn from stepping back and forth. You’ve got to step back and look at your work. Sometimes
your teacher will walk up to you and say you’re too close to it.
You could spend hours and hours and hours.