- Lesson details
Great drawing doesn’t have to require expensive materials. In this amazing lesson, master draftsman Glenn Vilppu teaches you how to use one of the most affordable drawing tools, the carpenter’s pencil (found at any hardware store) to create beautiful nuanced figure drawings. In this fifth part of Glenn’s advanced Renaissance Figure Drawing course, you will learn how to control your values and build up your drawing in steps.
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controlling, controlling the tones that you put down. But the
other part of it is I'm going to be working with carpenter's
pencil and I think I'll probably we'll see how it goes
on my work with some charcoal. But basically
carpenter's pencil it's a great tool to work with if
you've never tried it.
You look at the art of Adolf Menzel. He did a lot of stuff
with carpenter's pencil and really controlled the value. Okay.
So this is where we begin.
So let's see what we can do.
be drawing with is this is a carpenter's pencil,
regular sketching pencil, but it actually comes from
carpenters. It's a 6B and a 2B. And you notice that there are B and you notice that there are
So I will work with both. The big thing with working with a
carpenter's pencil is that you can make - now this is the 6B you
can see as I put this down
I'm working with the really the side of the pencil.
And I can also the was I have got it sharpened I can also take
and make a very fine line. Okay the 2B is not quite so dark.
And you notice it doesn't have so much grain to it. So it
gives a subtler tone. Now the 6B you subtler tone. Now the 6B you
find that you can get much more of a sense of a texture
with the drawing but I'm going to start out with with the 6B
and what we're focusing on now is basically can being able to
control the value. Okay. Now as usual I'm going to take and I
start very very loose. And focusing on getting the gesture,
the action of the pose. So coming through now and taking
and I'm not necessarily going to do the whole figure. I may
just do part of the torso here so I come up in scale here. So you
can feel, feeling the flow
of how the figure goes.
I don't copy, what I'm doing, I'm really trying to
take an and analyze
what's going on. So the flow.
Feel the flow, the movement of the figure.
And will indicate the lower legs here.
Now what are we going to take and do as I develop
I'm going to take and slowly take
and build up the tone. So I don't start out taking and
trying to take and
get everything beginning with.
Take and allow myself to take and go through the process of
taking and constructing the figure.
I'll take it and I know that through experience that all
of the rough lines that I put in to start with will
essentially take and disappear
as I develop the drawing. So going through
I pay particular attention to actually the anatomy, I'm taking
and coming through, thinking of the rib cage, the symmetry
going across. Really feel all the model. Now, you can really
sense the way the form is pulling out.
Then we feel as one side goes up the other side goes down
obviously. But you really take and analyze, try to analyze
the action, analyze the gesture. I'm more concerned
with the actual feeling of the action than the particular
Now much of what we think of as realism actually comes from the
values that we see. So I'm really focusing now, on as we
develop the drawing, and I'll take and go back in. I may use
the chamois. I'll come through, I'll take and I'm not afraid of
using the eraser to take and bring out lights. I'm just
slowly - you can see what I'm doing - I'm just slowly feeling the pull slowly feeling the pull.
as we lift up.
Now this is following through with everything else we've
talked about in all the previous lessons. You take and
how the eye experiences the form.
We're taking and coming up, you orchestrate the lines and the
tones to take and build the form.
Now as I go across we can feel the
in approaching the drawing way I am then it
of course, then you're not copying the
photograph, you're analyzing the photograph. You're analyzing
the form not the photograph particularly. You're using
the model, you're using the photograph not having the
photograph use you. Okay going over and around the form.
Everything I do actually has a strong
part to it. In another words I'm constantly thinking of 3D form.
It's not 2D drawing.
Although you have to keep in mind that every drawing is in a
sense an abstraction because the piece of paper's not real
or I should say the paper's real but the images that we put on it are
We're talking about creating an impression, communicating an
And it's really all about communication.
So as we've worked on the drawing so you should not have
any qualms about taking and changing a pose, changing the
shape of something.
If it suits
your purpose it makes it better drawing.
So as I'm developing the drawing now,
notice I've been using pretty much the point of this. Now I'm
going to come in and start to take in a little bit broader
sense of the tone.
And in particular to take and have it show the basic
anatomical structure that gives us the symmetry in the figure.
In other words we're coming across, thinking of the
underside of the rib cage, thoratic arch. So we can
really feel that so as I'm doing this I'm concentrating
right away. I'm going across the form,
picking up the other side.
So going through, this is dropping.
Now what we see in this pose is of course, it's these figures
doing something like this.
And as we work on the pose it's like an accordion.
It's taking and going through so we need to take and as we're
doing the drawing then we're always taking and emphasizing
how we go across the form to take and show the fact that
there is this accordion type, there is a shifting that's taking the shifting that's taking
So now as I'm doing this then I'm going to take and
emphasize, push this even a bit more. So I'm making the pelvis
on the model's left hand side actually pushing it down a bit
so I can emphasize the stretching coming across,
going across, feel the pull. pull.
Now you notice the drawing I was still pretty light in the
drawing. It's not dark.
And I control the value so that as I come along I will be able
to take and use stronger tones.
Nw right there I started to take and emphasize the
We feel this coming down, feeling the forms overlapping,
in doing this I'm very consciously thinking about the
overall tonal effect that is eventually going to be
So I'm really using the broad side
of the carpenter's pencil.
But over the surface.
Carry a little bit farther here.
So I'm very definitely taking and focusing on the light and dark
Just giving an indication fingers not really getting very
involved in those.
Okay. Now at this point, we've carried through pretty much the
whole figure working with simple tone.
Now I'm going to take and start going back into this a
notice that as I'm doing this, I'm able to take and create
very very sharp lines just by going with the side edge of the
So I want to talk to take now and I'll come back in now and
cast shadow is the sharp edge.
Goes over the surface.
Core, which is of course the transition between the light
side, or the direct light and the indirect light is a soft
transition. The thing that most important with this is you're
working with the core is to be careful that you don't take and
make it a harsh line or harsh shape because what it
is if the form itself is broad
the core will have a very very soft transition. So as this
breast is very round, the core
has a very very soft edge to it. And as we come around the
bottom of the breast it's casting a shadow. So now the
cast shadow is a sharp edge.
And then as I come around into the ribcage here, I
pull down, this again becomes
a soft edge is turning
and as we come down from there now we're casting a shadow off I'll we're casting a shadow off
of the thoracic arch.
And now this is a sharp
tone and the cast shadow is useful in that
the edge of the cast shadow is helpful to taking and
describing the surface of forms.
And it also takes and comes in and notice the minute I
start pushing the cast shadow we're creating a
reflected light, just because the tone is being captured the
light, reflected light is being captured between the core and
the dark of the core and the dark of the cast shadow. So
I'm going to come through,
the cast shadow
so now what we're getting is a
sense of a strong direct light, just by taking working with the
core and the reflected light. Now so as I come back
through I start to take and see where I can use
the cast shadow going over the surface.
Now think of this as like a cross axis going over,
describing the roundness of the form. It's the same as just
taking like working with the cylinder, you're taking and
drawing lines that are going over the surface. So you're
constantly feeling the surface of the form that you're
drawing. So I'm going through
and I can even do this with a series
of cross hatching. Even with the carpenter's pencil you can take
and feel the forms.
Now I alternate between the core reflected
light and cast shadow to take and describe the form.
So coming through, going over the surface.
So we're building, we're building, we're building the form.
Now at the same time as you're doing this, you are creating
And we also take into consideration modeling tone
as the surfaces are turned away from you they go into tone.
Now, as we're pushing up on one side
I want to really emphasize the pushing down on the opposite
side. So I think of where the center is here now,
coming through, and making real effort to compress on one side
and I want to really make this come through.
See now I'm taking that
and I'm pushing.
I want to feel
that this is part of the line going across this way. Now
these surfaces here are turning away so I would be using the
equivalent of the modeling tone now, but as I'm doing this
I'm actually taking and using a simple crosshatch, pushing the
sides back. And we can feel center.
Now in working with the carpenter's pencil,
one of the main elements that as I'm doing it, I'm always
really thinking of a tonal type thing. Even when I'm sketching,
use a carpenter's pencil a lot and I'm taking and focusing on
the tonal effect of what we see. In other words the whole sense
of the light and the shadow. So I'm building this thing.
Now as I'm doing what I was doing here is I'm consciously
thinking that we have - and essentially what you're doing
when you're dealing with a direct light, you have two light
sources. You have one coming down
and you have the reflected light coming up and so as I was
doing this I was actually thinking of the top of the form,
which is turned away from the reflected light and which is
taking and helping to describe that form. Now I need to going
through, emphasize again coming down we're compressing.
Want to push forms - in other words when I say pushing the form I want to
take and let's say if we have the volume here, I'm taking and
pulling the form from behind and building the thing. So we're
thinking of this definitely clearly is wrapping around from
behind. So now I literally start from behind, I pull a line from
behind, coming through.
So you're seeing the compression now. And at the same
time we're seeing the external oblique
pushing up. The top of it would be turning away from the
reflected light. So this is going to have a tone on it and
then we can see as this it comes down to
and the top of the pelvis itself now, the edge of the
bone is actually turned away from the reflected light.
So that's getting a tone.
So now we can feel these ligaments that are pulling down
through here, we can feel the side of the stomach pushing
Now all of this is in
We can feel and I can emphasize here now a bit
of the pull and I'm really using the side of the pencil
You can feel shoving down, feel the center line
through and at the same time, I would be going
into the light pushing it down.
talking about the light here, let's just take and
carry this up a little bit farther. I wanted to - well first
let's just take and continue on with this compression we're
talking about here. So I want to feel the tightness of the
way the breast
They're shifting over here. I want to really feel this line.
Feel the compression, the form is wrapping around.
Okay now so that we're taking and sensing.
So now we really feel this pinch and at the same time then
the other side we want to feel this is stretching. So actually
here the picking up the line of the ribs become elements that
we can use just to push
back and up. And even here taking thinking of the side of
the breast going down.
Now as the armpit goes into the muscle here builds up, we
end up creating what we call the armpit.
Pit of the arm I guess. Now I want to go beast more now. I want to go
over the surface
so we can feel where the muscles are taking and pulling.
As the muscles come from behind we feel the -
this would be the latissimus dorsi, which is over the top of
the teres major and we can see that this is a line that's
And so this shape as it builds up
here the outside edge we
feel, which would be teres major then the latissimus and then
the scapula actually is taking and being forced out.
Now notice one of the things as I'm doing this I'm
constantly taking and
addressing the anatomy that I'm drawing. It really is useful to
know the anatomy that you're drawing.
Here feel stretch.
Now this stretching as it's coming down, we want to feel all of
this is pulling
So now just that bit of tone there, what you're seeing
that as we can really sense that we have the forms that are
coming across and carry this through into the
Coming across, actually pulling over a little bit
We feel - so now we get a combination. We can see all
these lines are building up and we're dropping on the other
side and so come through here. Now I'm doing this, I'm going
to emphasize just using the line that's outside here. Notice
it's not a continuous line. I'm just picking up a line
that's going to help to push the action and I'll take and as
this is coming forward, I'm taking and coming from behind
here and pulling the external oblique around and making it
as it comes through and then we can feel the pinch. So I've
the dropping of that external oblique
and then we can feel the ligaments now coming through
here, coming down. And we feel the pull,
the muscles that come out from underneath it.
Now from here we have the
tensor and the gluteus medius.
So look at this point my first just looking and you have
to constantly going through the drawing what's appealing
or not appealing to me is the way this tends to be sticking
out too much. So I want to take and drop that slightly down
into tone so it's not coming out so much.
So now the light's become stronger as we're building up
this way, and I'm going to take and push.
Now I'm constantly going over - see
what I do is I rehearse rehearse the strokes as I'm
making. Now I want to think of the triceps that are pulling
through in here and this is taking and triceps coming in.
Over the surface.
And we're picking up a bit of the deltoid behind.
So now as I'm going up on this side
and coming up we pick up, you want to push the condyle in the
Got the end of the ulna sticking out.
So just a hint of the condyle on the far side
of corner, the core as we coming down.
Again, be careful when you're working with the core that you
don't make it a hard edge.
And the only time it's a hard edge is when the form itself is
Here you can see I'll give, even right here, I can give a
contrast of the cast shadow to the core.
Okay. Now, I don't want to take and we're getting the movement
going this way. We need to really focus on thing going
here. Now part of the thing is I was coming around here. But
we also have to think the pelvis was pushing up. So really
at this point, this should really be going this way and
that's if you look carefully at the model, that's actually what
we see. You feel the forms taking and coming down
You can feel this stuff dropping down.
Okay, and as it comes through you get the compression, things
coming from behind, and then we see the pelvis is these forms
now are shoving up against
this so we get start to see this compression going this
So now in doing that now I want to take and we start
carrying these lines through that we're looking at,
we're taking feeling a pull
across, coming through.
Really pushing down so now I've adjusted I want to
feel the shifting in here. This is pushing up.
Feel the compression, in other words that emphasizing the
compression and even as I was doing this you can see how that
we feel the creating a reflected light underneath
here, puts the tone on top of the form. This is pulling
reflected light, we feel it coming through.
And from here the
vastus medialis behind
and then we start to feel these forms fitting in. The sartorius
actually takes and then pulls down here. So now
I start to push the tones here, we can start to see
the relationship of pull across the other side. So I'll take
even here I'll come through and emphasize
Now as we're going through, now what this brings in and as
we're building this we start to see now we take and feel the
pecs taking and going across. Now these become a line now that
are really helping us to see the pull across the surface.
Feel tone here now as I'm going through this I'm hitting
the top of the form
and we start to feel more of the sense of the reflected
underneath and I'm picking up these forms going through
And then we can feel. So using the dark in here then takes and
helps us to take and describe the form a bit more. describe the form a bit more.
Now we're building up, shoulders lifting, we build through here.
Pit of the neck.
Clavicle going across, trapezius from behind.
Now constantly pushing the direction.
Using the cast shadow going over the surface.
Feel the side of the masseter muscle, overlapping these
Now, in doing the drawing here as I look at what I've been
doing I find that I've gotten pretty dark with a lot of this
stuff, darker than I would like. So what I'm going to do then is
this is again using the tool
I'm gonna take and drop all of the values
or simplify the whole thing as we're dealing with it now. And
first since I'm going to do that. I'm going to take and go
back over with this with a chamois and simplify.
Actually before I do that, I'm going to take and
as an example of what I do in class often is that when
the student's drawings which typically are too would you typically are too
I will take a kneaded eraser
and just basically go over the drawing. So let me show you how
So rather than even taking the chamois, I'm going to take and a
lot of this is way too dark.
Okay, so now to get the value down.
Notice what that's done now. I haven't lost any drawing.
All I've done
raise the value so that I can actually take and go back in
and go back over the drawing. Now
I know when I do this with student's drawings there's
always this sort of a panic as I take and I start to
erase their drawing.
But you can see what's happened here now as I've done this
they haven't really lost anything. It's all still there.
And in fact, it's actually closer
to what we want. So now that I've gone through and I've
basically knocked all of this down,
now I can take and come back in
and go back over the drawing, changing it, adjusting it, doing
whatever I want so that this is a - you should not be afraid
to take and make these changes. So, okay. So now I've been
doing all this with the 6B. This is a 2B.
So what I'm going to focus on now is I'm going to really pay
attention to using the core and leaving a lot of the reflected
light in the drawing. So instead of having where the
figure is so dark, I'm going to take and be working now with
Core, cast shadow.
So you can see right away how dramatic that takes and the dramatic that takes and
things so now as I come through,
core and I'll alternate between using sort of cross hatching
lines that are going over the surface.
And while I'm at it here I can add cast shadows that are
taking and going up over.
This also gives me an opportunity to use
the modeling tone
as forms take and drop back.
And thinking of it is the forms that are pulling away, but it's
also taking and emphasizing the
reflected light so as I come through, cash shadow, core.
Now here are the surface as it turns away is going into tone.
And notice here that what you're going to see is that I'm going
to bring out the reflected light to draw a clavicle.
So I'm pushing a tone down into that form to build it up.
So now you can see at that point right there the clavicle's
sticking out because I was using a modeling tone coming
Pushing the sides back
and we do the same thing now as we take and feel
combination of these elements now and even taking and using some line
take and as the deltoid goes back up or the pecs go back up and
hard to push
Cast shadow, core so you're seeing a really strong reflected light
Down. Core working around form.
Now we can do both now that I'm - this is the - I'm working with
I can come into this with the 6B and really emphasize now I
come through and
push the -
bring this down a little bit - the cast shadow. See notice for the cast Shadow see notice
how the difference in the pencil now is made a really a
as I'm coming through.
And so this becomes the combination of just the values,
just the values of the pencil that you're working so I can
come back in and emphasize now. I'm working with two different
Core, cast shadow's stronger now
And in doing this it gives you a little bit more control now.
We're talking about the value control as we're building the
So typically you save your strongest darks and lights
until the end.
Now this is the 2B again.
And I'll come back in and work with the darks later.
Just wanted to show you what the effect is that you can
take and develop the drawing.
Notice I've been drawing going really quite slow. I'm
not rushing the drawing.
Note as I'm doing the drawing
even though I haven't been particularly copying and I've
been drawing really quite loose in the whole process of doing
that it ends up with some fairly realistic sense to what
the form is doing.
at this point, I've already been changing it and taking and
using tones to take a describe form,
pushing the using the reflected light
Now here's where we're coming around from behind.
And now the feeling the compression pushing up.
And and then doing that the top of the external oblique
turning away from the reflected light as we feel these forms
Hit the top of the form, turn it away. the way.
Feelt he external oblique on the opposite side now, really
stretching, it's pulling down. Feel the rib cage now. I'm field the rib cage now. I'm
pulling that line in.
And so I can feel the stretch of the external oblique. So you
have keep modifying, adjusting.
The core coming down along the side of the form.
Go over the form.
Let's carry farther over here. Let's get into this.
Feel the pull of across.
The edge of
the scapula. I'm pushing the sharpness of that bone there.
And then feel the deltoid coming down.
Biceps coming down,
Actually, I'm going to take and I can see where I shortchanged
the distance here. Make it a bit longer.
All of this of course is in shadow.
We can come in and
do a little bit more clarity on that hand.
Arm, through, wrist.
Feel the finger.
Here. I'm just going to indicate.
We can use the cast shadow to take and show.
Surface 3D, it's going across, over.
Going back, over.
And picking up the core on the underside goes back.
Now we need to do a little bit more with the head here.
Now as I'm doing this I'm focusing on is
using darks where we actually see darks.
And we go back to picking up the sides,
form, feeling the planes, side of the head the turning away from
the reflected light.
Okay now we can
fill out this little arm a bit more.
Knock out all the tone so I can go back over it.
And again, I'm just indicating,
going back in.
Push the core, getting a bit of light in there.
This leg now we're going back in.
I started out with the idea of not going to draw all of that.
So right now just
Now, I'm going to go back in now with the dark
elements now that we can take and really feel
And how the reflected light starts becoming a much more
Pick up lines that are going to take and show the compression.
Now go from one side then I go back to the other side and
forms. Now going to pick up this cast shadow
Now notice how that really makes that reflected light come out
And take and come along,
core, the eyes jumping from one side to the other, feel these
forms pushing in.
Trying to make the eye move from one side to the other.
Okay, I think tht's probably enough for this drawing. Let's
take and do something more.
Can't seem to let go of it. Bad form. bad form.
That's we always joke about that we need somebody behind
you to take the pencil out of your hand.
I think this is getting the effect
that I was trying to achieve. T' but I was trying to achieve.
Okay I'm drawing with the 6B carpenters. six be Carpenters.
Feel the figures already. I'm thinking of the twisting the neck.
Feel the fullness of that ribcage as it comes around cage and it comes around.
Now it's important here to be as I look at the
model, the idea now is that this is really, he's really
pulling back with shoulder soI'm gonna block this in a is normal blocked us in a
little bit very lightly here with the idea of the box, this
is taking and coming back.
He's doing this. We really feel this is pushing down, coming in.
And then we feel the rib cage underneath. This is stretching
across and it's going down, feel the pull through. Now all
of this is like a pulling back they so we want to keep in mind
that this is taking and coming around this way.
Now as he's doing that we're getting a total shift in
direction now so that for the pelvis, the pelvis is coming
this way. He's taking - now if I draw this as a box form, we see
that this becomes the direction now that we're working in.
then from there and from there then we got the leg which is
taking and going back, which is a cylinder now.
So you're seeing the cylinder form moving around. Notice how I
rehearse the stroke thing as I'm going around so I do this
not just when I'm teaching, but when I'm working on my own
drawings. I'm constantly taking and wrap, thinking, wrapping around
the form as I'm doing the drawing. So and this is pretty
good the way we feel really feel the
lower leg fitting in, it's like a like again like a cylinder
just pushing in.
the other leg, the pressure is on this leg. So I would go out
of my way to emphasize the line going in a different direction
to show that this is really where the stress is,
going across, dropping down. The arm is pulling down, going down
in this direction.
The other arm is going in.
So this is just again it's just basic cylinder taking and going in
and then the scapula coming on top. So
I'm going to go out of my way right now to take and emphasize
the fact that we get this whole section in here is pushing down
in and is something that is separate from the rib cage. So
we see this is a volume now and I'm just going to block this in as
a large tone now. So we see this volume is pushing down.
And in that is separate from the rib cage. We can really
feel this is a volume coming through, the scapula is shoving
across the top here, coming through, so this is going down.
Now we can feel this as we come around the form here. Now what
we're getting is a compression, very very simple to start these very very simple to start
with. We're visualizing this as a simple form fitting in and
then we're coming out from behind. Now, the pelvis is
taking and coming across. We want to feel that the back of the
pelvis. The bone is literally going up and we're fitting in
here. This is taking and going across and over. So just
natural you can see there's a compression that's going to
take place at that point. Now as we build this on top of the
rib cage. We can see that this is a rib cage itself here now
a round form, but even before I'm visualizing
I'm seeing this is yes, this is round but we can look, we can
see the push. You can see these forms now are fitting into this
and this comes down
and we're actually pulling out from behind here now.
So the combination of this again, this is a very simple
And it's really really obvious now compression, but we can see
how these forms, this is the - visualize this whole
scapula area is something that's it's doing that.
And the pelvis now is fitting in, it's pushing up and it's
doing that. So we get these really clear opposites taking and
working within the drawing now. Then as we build this up, you
visualize from the pelvis here. This is taking
as this pulls in we're looking at volumes that are going - this
is like a plane that's going back and we can feel the
dropping here. This would be the gluteus medius dropping
So we can feel this drop pulling in, we can feel the forms
pulling through here. So now this whole buttocks area is
the leg is pulling out. We can feel that this is a again a
plane coming across here.
So, I'm really I'm really diagramming three-dimensional
simple volumes as I'm doing this now. So you're seeing this
is a plane and is pretty much what you're seeing with
the light up there. We can take and break that down but we're
going - this is a volume now that's coming down and dropping
as the gluteus fits in, this is the plane that's taking
Going through. Okay. So we can feel the stretching
and so as I break all the stuff down here we can take and
the more it's sort of a a sequence of steps.
If I take and we look at the leg as a 3D form then
if I start to break that down and we're going to the knee
here, you can see that this, the tendons come down, creates a
very very clear box form.
And we can feel these forms then fitting into it. There's
presently no imagination there. Now, you can see that that's
exactly what you're getting and that then is part
of fitting into a three-dimensional form here. So
if I break this down the very very very simple volumes here,
now we can see
that we have the tone here.
Coming across, feel that fitting in and we can see now
that this is the round form without taking it into the
small pieces. We can feel that this roundness of this volume
in here coming through or fitting in to this, coming across,
this now is another 3D simple volume.
From that we can then, we're coming and getting this now all
this is fitting into the flatness
of the buttocks. Now I'm using a lot of tone there now, of
course, and then I am also obviously taking and ignoring
the light source now.
Through. And as we got a corner here, so I would be thinking
this is the corner but through as we pull around this side
then I could be using the core coming across, pulling through,
and showing the side coming down through here. So now - and
here we use the cast shadow taking, coming across.
And the compression now there's a lot of pressure being created
so we can feel these forms now are pushing, coming through, and
this would be
a plane now dropping down.
and taking and without going too detailed here now you want to
see that we've got coming across. Now the box here you're
really being defined by the end of the scapula.
You feel the corner and as that arm comes back, this is a cylinder
pulling back and we come over these surfaces, going down,
And I just I look at that, see I come all the way down to the
condyles here down at the end of the elbow and the
hair and then the end of the ulna sticking out. So these
become directions now. And so that helps us to understand
that what we're getting at this point here is a
We can feel these forms being shoved in here.
And the top of the shoulder is all of this now is turned away from
us. This is taking and here's where I would be using the modeling
tone. We can feel the corner of the form, come through, all of this is
just pushing back.
Going through. And right away coming from back of the neck.
We're looking at the way the forms twist
and turn and how we feel these volumes taking and coming down.
And we have the plane of the scapula now the way the
trapezius is coming, the scapula is being shoved back. Feel it all
the way back into here. And these are the trapezius now,
we're used to what you see in light. Now I'm actually seeing
a tone just to clarify these volumes so we can see that
that's going back. We would have then the building of the form
but everything is compressing. So everything I'm
doing now in this drawing is related to the twisting which
is pulling across,
the compression of how the form is taking and going down.
And then so I'm totally like I say I'm totally ignoring any
kind of light that we see on the model. All I'm doing right
now is taking and building this thing up to taking and analyzing
what the action because as I was going through everybody's
critiques and their drawing what I was seeing was a lack
of analysis of the basic action or the 3D
sense of what the forms were doing. So you need to be
conscious. Now as I said I'm taking and doing
this drawing I could take and very easily take and as I said,
this is what I do in class a lot is I'll take the student's
drawing and I'll just say well you're getting it all messed
up. You got too many dark so you don't need and just go back
over the thing with the kneaded eraser and wipe it all
down and you see that nothing has been lost. Now. I can go
back into that and I can start to be a little bit more subtle.
I can come in. I can build on all of the exercise I've gone
through of trying to analyze the form and build the
Now I can start to take and come in and say well alright now I
can see this as coming through so don't be afraid to take and
go over your drawing, knock it down, come back, build it up.
We get too preoccupied with not
Don't worry about mistakes, understand the form.
Feel the things as we start working around, coming through.
So now as you can see I can take and go back into the
drawing and the more I go back into it, the more I'm conscious
and that now becomes the whole
emphasis. So now I'm coming back and thinking of the rib cage,
feeling the volume. And even here coming in and using things
like the cast shadow, think of a core coming through.
Feel the build.
be conscious of overlapping forms. Again
feeling the stretching, feel this coming through, coming
interior form. Now we're taking and coming across that, going over the
surface. Feel that there's a shifting down now before I drew
this all until now that I went back over I don't need to now
because I've been analyzing it, I went through. Now I come you went through now I come
back in I can feel this, picking up the core.
This combination of cross hatch,
side of the pencil,
over the surface.
So I'm constantly going across and over the form.
So in the drawings now that you're taking and doing this
week, focus on the analysis of the form. That's
the big thing that everybody has been having difficulty with.
We've gotten too preoccupied with bumps. Forget the bumps, get
And we build it up.
And focus on using the photograph. Don't let the
photograph use you. using the photograph. Don't let
number one. Well, I should say number one is the action, the
gesture itself. And of course that is being shown by the
forms themselves that take and go along with it. So you have
to focus on that. It's not the surface so much.
Again operate use different media, different tools, we
need to have fun with the thing too. Now what we're going to
focus on next week is accents. Well, obviously as we can start
thinking about how we use accents, it's going to be
taking and helping us to show the gesture more clearly and
also show the form more clearly. So you have to focus on the
construction, but this is a good lesson and have fun with
Free to try
1. Intro to Carpenter's Pencil38sNow playing...
Watch the whole lesson with a subscription
2. Gesture & Chiaroscuro1h 1m 33s
3. Back View16m 31s