- Lesson Details
In week three, you will learn to create figure drawings using light pastels on toned paper. Instructor George Pratt will demonstrate how he utilizes the tones of the paper as the dark values and draws only the lights of the figures. You will practice not copying the references yet creating drawings with good designs of shapes and gestures.
Throughout this course, you’ll have access to the NMA community for feedback and critiques to improve your work as you progress.
Transcription not available.
to just use the Naples yellow light.
This is sort of a dovetail into what we just talked about with
shape welding and gesture and all of this, but, but it's just what we're
working with now is purely light.
Well, the shadows, the shadow shapes will be created by the light.
They're there just the negative of our light shapes that we're creating.
So we're, it's almost like by doing our light shapes, we're automatically creating
the puzzle pieces that connect to our light shapes as shadows and the darkest
element in our piece is just our paper.
So as opposed to the way we were working with gesture, which was like
working very quickly, what we're going to do here is you can take your time
and you're just working light.
So you can be, but I want you to be deliberate and you don't want
to do set ups, you know, and get it all squared away and then say,
okay, now I'm going to fill it in.
I'm going to fill in my lights.
It's like, no, you're going to work with, with the new pastels as directly
as possible with pressure, you know, hard and soft pressure to, to achieve
the effects that we're looking for.
So, and again, this is all about shape, so here's like her, her, this is a
little big actually, the piece I've got, but so there's that hand, right?
And now I'm going to like
So there's her arm, but see, there's, you're only seeing the
top of the arm, right, that I drew.
So what I need is the underside.
Now I'm going to, and it's a little, it's got a little, it's not as light,
so I'm going to use the other side now and just do it, but not as hard.
Here we go.
And then same thing.
I need my edge on this side of the arm.
Cause the other side is shadow.
So pressure is going to be on the right side here.
So there we go.
I'm drawing so large.
He probably not going to fit all the way on the sheet, but that's okay.
Not worrying about the back of the head.
There's her home.
And that means this is over here
and put a nose in there, just a little indication.
And then this really gets the hit under here.
Tell you, I should've started with the head is where I usually start.
This is probably going to be all off.
I'm gonna move all this over in the wrong spot.
That's going to be the arm now.
that's where we need our trusty...
And so if I want to indicate - this is actually here.
If I want to indicate the back, cause it sort of demands that we have the back
because it's not self descriptive here.
We can be very, very light with our white, our light Naples yellow, and bring that
in to delineate that aspect of the figure.
Went a little wide on that there.
So I'll cut it back a little bit.
So that gives you a sort of a start and I had a false start on that one.
So it's a warmup.
So here we go again.
Hopefully this will be better.
This is always a conundrum.
I have to switch hands to get some of these angles and still be
able to see what it is I'm doing.
Some of it is just blind trust.
And that head, you know, there's sort of the, the line of the nose,
the, the forehead.
This comes around.
And then the hair, it's pretty funky.
But again, think of it as a shape.
Another leg popping out.
So we've got the light areas and there are places obviously
where it's going to get kicked.
Cause we have this, this core of light at the tip of the, of the
flip of the, of the form, where the form is coming out the furthest.
These things get more light.
They get hit.
This has punch here.
So now we - it's that what we were talking about before with - well let me,
let me add a little bit of hit here too.
Cause that gives us that - is that shadow area in order to reclaim
the back here, we can go white.
I've lost my edge.
So it's like, I'm not able to get the edge that I want here.
So, but let me go - the hairline.
And then that thing again, arm.
Let me fix that.
So I'm going to use my light to define my negative here.
And then come in,
and add my light.
So there's a fun rhythm going on here.
That's pretty fun.
And I still have any - other than the head, I have not
broken into my figure at all.
I cut that a little tight, but that's all right.
So now I can start getting involved.
Like my, my silhouette is there.
I've nailed that down.
Now I can get involved in sort of delineating some of the important
passages that allow the light within the figure to actually do some work here.
I'm going to tighten this up a little bit, make it a little thinner.
So again, it's like, these are, these are exercises, so we're not, you
know, not going to go forever on it.
It, it, we're getting, you know, hopefully you're getting the point of that one.
Let's move to a new one.
And this one was interesting because it sort of required us to go back
and forth in positive, negative in a, in a whole different way.
But doable, right?
So now we have more mass.
And you see me constantly sort of breaking my thing is to get
back to a really fine edge.
They tend to roll out on me and I'm not able to get the edges that I, that I want.
So if I'm looking at this, let's start a little higher, but thinking about
starting again with the head here.
And so again, everything
is a shape.
Again, these are so much like light.
They emulate light so beautifully.
And it's all about pressure, putting the right pressure on these.
So it's all about the angle that you - this is like a chisel and
you're trying to work the angles to achieve some of the desired result.
Here I've sort of made this a little too bright.
What I can do is take my needed eraser and I can pound it out here
in my palm and just lay it on here and just press, pull off and I can
take back and take it down a step.
So it's not so bright.
Got that, that sort of farmer's tan which makes it hard to decide
how to handle this - his arm.
So what I'll probably do is, is bring a light
so again, it's like, what's fun to me about this sort of thing is puzzle pieces.
I love puzzles.
But it's all, it's also very much about seeing.
So these obviously are not a race.
That's good on that one.
I could go ahead and just keep going, you know, but what, what's
the point if it's, if it's reading
Take a picture of it.
You can just see this line of action coming through here.
Well, first there's like the shape of the hand.
And then a little bit which leads into
the forehead, the nose.
A little, a little too much curve on it, but that's all right,
because the, cause the arm.
Comes down, lock, swoop,
and then it picks up again down over here.
This is where it's - I get it right.
Can't see it.
That's what sucks.
So I've got this, you can just see the swoop of this
beautiful curve of this figure.
That's really cool.
And I, you know, I haven't obviously put that hand on the arm
and the palm.
Let me get a smaller piece here.
Comes up, that palm swoops.
And then there's that cut.
Here's the shoulder
and this cut in.
Then it's light.
We've got, then we have the edge from the shadow of the - well,
let me make this a little more.
The shadow of that hand.
And it happens underneath here too.
So we've got that little, little jump, cuts, cuts, and then we have a soft edge.
And so we've got that.
Let's think about that, the light background.
We know this comes straight down, connects.
Then the hip.
And so then let's do the negative space for the legs.
And here's shoulder still.
And that swoop of hair.
Carve the eye socket out of here.
Here's a little easier one too that's that's more of a contained form that's
going to require, you know, let me start over here, more of the setup of the
half light, you know, coming from around the other side of the form,
but that's kind of cool because it's
- it will help you to see one larger mass.
And the thing that I'm not paying too much attention to and I should
be, is the falloff of the light.
You know, the closer we are to the source, the more hits we
get and as we fall it tapers.
So a lot of this will get more light.
So I can, I can bring that in.
Again, play that, play that up so that it's slowly falling off the
farther away from the light we get.
I think down here it was a little too much of a hit, so let
me just kind of walk over it.
Normally I'm more sensitive to that.
So it's still too bright.
So we've got our outline sort of the socket, and then
there's a little light inside.
This is a little brighter.
Anyway, let me put a couple of hits on where this, where the light's
were really catching and it helps give it like serious body, you know?
I didn't actually get in here and zap this up either.
Oh this is a good one, let's see.
This is actually a really good one if you were to play with just shadow, you know.
Can see my mark on that.
It's up here.
Made her torso a little short.
So let's fix that.
if you have this paper, if you're able to get it, that's awesome.
If you're not - and you can work on the Strathmore paper, that's fine too.
And you're just doing the highlights like I did now.
You can do lightly around an edge, right,
where you have shadow, but you need definition of like a leg
or, you know, a torso, whatever.
You can do it very lightly.
And you're just barely applying any pressure, just so you can like define that
dark area without adding dark, but really think about how those lights combine
and group to create beautiful form.
So I would do - and do those vertically on a full sheet 18 by 24.
And I would do a minimum of five to 10 of those and just take your time.
It's not a race, keep it simple.
And just think about that pressure that I was talking about.
You know, I can add edge that way or I can add edge that way by pushing on this,
I'm getting edge.
By pushing on the back edge, I get edge with soft.
So explore that, experiment with it, get comfortable with it.
And it'll be exciting to see what you do.
Transcription not available.
Reference Images (27)
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1. Learning Recommendation24sNow playing...
1. Drawing with Light Naples Yellow Pastel26m 50sNow playing...
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2. Light Pastel Demonstrations Continued I27m 41s
3. Light Pastel Demonstrations Continued II54m 42s
4. Assignment Instructions1m 28s