- Lesson details
You may have seen how professional artists use areas of dark and contrast called “accents” to move the viewer’s eye masterfully through their drawings. In this sixth lesson in Glenn’s advanced Renaissance Figure Drawing course, Glenn will show you the logic behind the accent and how to use it in your own work. Using Faber-Castell Polychromos colored pencil, Glenn will demonstrate a long-pose cross-hatched constructive figure drawing and how the accents can be applied.
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Since we're talking about accents I'm going to take a
little bit more time doing a drawing, carrying it a little bit
farther so that we put in the accents. But watch carefully the
the way I build the drawing, I start a long pose just like I
start a gesture drawing, I feel the action. I take and construct
the figure and I build on it. And just taking a lot longer we
build and develop more. So let's get started with the
taking my time
and but I still start out very very loose as you're gonna see me
taking and doing a drawing is I start out light
and I'm first taking and focusing on -
the gesture is I'm doing, focusing on the gesture. I want
to feel the flow of the figure. But at the same time
I'm noticing I need to take and do this a little bit
That's one of the part of the advantage of starting so light.
I've got to take into consideration that elbow
sticking up there. Okay coming through.
Feeling - want to feel the flow of how the figure goes.
Again, I'm going to take - I'm approaching
this as a long pose. So I've got
Our subject of course is working with the accents. So
we're going to take and carry this drawing
fairly far so that we can apply accents. I'm taking essentially
just taking and feeling which way the figure it goes.
I start like I said start out loose.
Now part of the thing I can say notice I'm not
actually taking and measuring per se, I go by sort of what
sometimes goes as an eye hand coordination, the length of time
my eye is taking and going on the model
corresponds to the length of the line that I put down.
one of the ways that is used for practicing this is to
take and drawing as you're drawing to take and cover up
your hands so you can't actually see it. Is an approach
to taking and helping to develop your eye hand coordination.
I'm constantly as I'm doing this, I'm constantly checking
horizontals. Look at the diagonals.
So I'm using for instance the breast is a symmetry involved
to help show the gesture.
Across the thoratic arch, the rib cage.
The figure's slightly twisting not dramatically, but
there's a twist.
now one of the things we talked about in the figure classes is
the landmarks. So as I'm coming through I'm picking, you
can see what I'm doing is I'm indicating. These are my
landmarks as I'm going through
Feel the pelvis going around.
Across the iliac crest they come down.
But I'm primarily concerned, I'm going to take a little bit of
time here and go back and focus on the hea. Now the head is
turned back. So I need to be able to visualize this now as
like a cylinder going back in.
I'm pushing that line down.
Now part of this of course, means that we're
looking at the underside of the neck through the chin,
feeling the brow line.
Oh, by the way, the pencil I'm using, this is a
water-soluble. Although I'm probably not going to use water
but it's the Faber-Castell Albrecht Dürer in the color is the
I guess the idea of Pompeii.
Actually, if you go to Pompeii they did they use an awful lot
of red. The Romans used to read a lot.
Now you can see I'm slowly blocking in.
And so at this stage of the drawing, it's really a
I first get the gesture the, feeling for it, then as I'm
constructing the figure I'm constantly taking and
using that construction to help communicate the gesture even
But now I'm going back, thinking of thoratic arch a
little bit more,
drawing the rib cage.
Now as I'm doing this I'm looking to where I see the
outside of the rib.
I'm taking, checking my verticals.
But she's on an axis. She's turned in this direction.
So feeling coming through.
Really stretching. I want to focusing on the stretch. So I
focus on the action rather than the shape which in
many of the other approaches to taking and drawing the focus is
on the shape copying the contour.
Some of the terms a lot of you use is like the envelope well,
I'm concerned with the content rather than the
What's the message?
So part of the thing is I'm going through I will already
start to think of the rendering, now, I'm going
to be doing both tone and cross-hatching. So I'm just
pushing the side back.
I may totally change the light, I don't know.
As I'm working through it I will take and adjust
things according to what I feel I need. Not because at
a certain point, it's not your the model that's
important thing. It's the drawing.
Coming through making the ball. Now I'm drawing, approaching his leg
seeing it as a cylinder knows I constantly rehearsing
pencil stroke that I make.
I want to feel going over the other leg here.
Feel the pressure, this is lying on top
and then we're taking and coming across over the surface.
Very conscious of the fact this is the end of a cylinder
then they can work down.
Visualizing these as
Now we come across, get both of these legs at the same time.
around, come back here. I need to feel the buttocks taking and
There's no stage in the drawing that
I won't take and make a changes. I'll constantly be
Feel carrying through.
I draw through, feel what the leg is like behind and come
Now I can see is my original part of the gesture here I was
taking pretty far, I was carrying it out the angle is
through the feeling. Now
maybe I might want to go back and actually change it and have
it go back out that way.
Now is she pulling up
feel the scapula is pushing out.
And we can feel a forms pulling up. Now I wanna take and feel the
pectoralis muscle lifting
and this is going through
and wrapping around
the surface now my feeling the pull again. These forms are
Now when I come up here to the elbow,
I'm taking and going across the condyle.
You've been hearing me say this awful lot. I'm almost taking
and I build
from the inside out essentially. I'm always
focusing on the actual anatomical structure, bones.
Coming through. Feel now the tendon of the triceps that it's coming
Also just I'm not sure if I've commented on this, notice that
most of my lines are being made with the direction of the
pencil rather than taking and using the side of the pencil
Feel this pulling around.
This is bicep that's going behind now. This is the tricep
that's coming out.
Okay, as that arm goes back in,
going over the surface
and we can really feeling the stretch.
These muscles come off the scapula, taking and
And now I see we're gonna need to
thin this down a bit. See and pushing the line rather than
just pulling a line.
Now from here go the other side taking and keeping in mind now
that the ribcage is turned slightly away from us. So
focusing hitting the clavicle turns going back in.
Then we can feel the deltoid shape, but I want to feel the
pecs that are pulling off of the rib cage.
And figure as it's turning in other words I'm
already thinking of this going in this direction.
you can come out think of the end of the elbow is
and I'm looking vertical.
Feeling the condyles coming through.
There's actually in here is what's called an intermuscular
septum that sort of a be a line between the
coming from the condyle going in. It's sort of like a
muscular baggie that it separates
muscles. Here now we can feel
behind filling in. Now from here we can feel the breast
shape coming down.
The other side is really lifted.
Now get beginning a compression here in the arm, pushes down.
Now I jump to the end
where I want to go.
So I'm looking for I draw and is again and you'll find
me taking something out, jumping ahead, looking across, checking
with length and then coming in and either pulling or pushing
And doing that I'm thinking about how I get from one
point to the next.
Okay at this point, we've got the drawing
And so now I'm going to take and go into a little bit more
So as I'm doing this, I'm just taking my time.
Building, looking at the eye socket.
I need to keep keeping keeping with in
End of the nose
we're looking up.
Feeling the shape of the forehead as it goes back.
I'll probably take the hair and carry it out a bit farther.
Give it a little bit more of a sense of movement.
And even as I take and go into the mouth here now
I'm going to take and do a typical Baroque thing is maybe
even opening up the mouth a bit.
The Baroque generally was a movement that emphasized
And so part of that is to take and give a sense of immediacy
to the figure so that
it didn't feel
static. And so in other words even doing a portrait that the
emphasis would be given that the figure should have a sense
of life is if it was just somebody would just talking to
you or beginning to talk to you. You're very engaged with
the viewer. So now I'm coming through.
And picking up that sternocleidomastoid from
And again at this point I'm still thinking all of this is
you know just being very very careful of the
Now I can see the trapezius would be coming from behind. So
it part of part of this is really being
showing how the muscles work with each other. In other words
want to feel the tension. Now as we start coming through here
is the pecs come up it takes and blends into with the
deltoid so we're
going over. So we're going over over the biceps.
And we feel the pull.
Now as the drawing proceeds, we're going to take and spend
There'll be more consideration to
using how the muscles pull and go over to take and show the
gesture even more. So now I'm thinking of the center,
down the sternum
roughly here where would be the
the attachment of the end of the bottom of the sternum, then
the thoratic arch. Now she's turning so now I start to
take and going to a little bit more of the rendering that's
going to help the gesture. So and this pose is pretty
good because we can really feel the pull.
So I'm doing this now. I want to feel that and at the same time now
coming in and I want to start emphasizing.
the stretching of the rib cage
You're always focusing on on the action, on the gesture
itself so you can feel the ribcage coming around.
Pulling through. That thoratic arch now is taking and coming karch now is taking and coming
Through. And the ribs are pulling down.
And but this is like an egg that's round. So as I'm
rendering of this then I'm going to be taking and going over the
this way. And I'm thinking now where the corner, where the corner of the
pelvis is down here.
So I want to take and feel the stretch that takes and pulls. So
this form now is stretching
across and coming down,
So already this starts to even get a certain sense of
the accent involved here already as I'm pulling that
through. Now going to take and come down and here now we need
to really feel that that external oblique is coming out
This is wrapping around from behind.
So it's going over these surfaces. Now I'm taking and
really feeling the pull of this form stretching down.
And we can picking up this would be the vastus medialis.
Coming around through and here.
Going down and want to hit the buttocks here. I want to feel
pushing down andat the same time we need to be very very
conscious of going over the surface as I'm doing the
Now we're getting this movement coming across through
here. So now I continue so we're taking lines that are
sort of almost like we might think of them as transitions
Notice that so far at this point, I'm not
dealing at all with particularly with the light
source is just modeling tone that we've talked so much about.
I'm just pushing sides of the form back. Now, we've got to
pull across here. So at the same time now we're working
into a really strong compression on the opposite
side. So the stretch
and the squish and at this point I'm going to take and
really pull. Overlapping.
Now in doing this I may
create more overlapping
then we actually see in the model.
And this form is building out here push.
Putting feel the compression. Now I'm going to take and come
Form are dropping down.
Feel the pull so in the center the surface drops down. of the surface drops down.
The other side is also of course, we've created forms of
the surface and we can feel this becomes a be wrapping.
So at this point, I may be
really beginning to take and change a little bit of what I
actually see from the model and I'm going to come through.
We're in line.
Feel the compression. I want to pull this form around to where
the corner of the pelvis is over here.
So I go over this surface.
Now coming down,
And I'm leaving a little bit of light here, even though in the
subject you can see that it's all in shadow, but I want to
feel the modeling tone pushing down,
And I'm going to leave the end of the
external oblique in light.
As it's basically facing me. So I'm totally
changing the sense of the light at this point. I may come back
to that but you can see now the emphasis on the turn coming
Now we get all of this the stomach here.
Is taking and dropping down but we want to get to is feel the
base of the form here.
Coming in, pushing in at this point.
So I'm actually hitting the base of the form.
Now from there I'm taking and coming down. Again, we feel the
There's actually pubic fat at this point here. But now I'm
coming from the iliac crest here. You can feel the line coming
across and there is a stepping down now, these forms come
through. So now you can see where I'm going to be modifying
the shape of the leg that started out in the rendering.
I started out with just first just a simple cylinder. Now
I'm coming through and I want to feel there is a compression
taking place in here.
And we get the form coming down here. This is
overlapping. So we're real subtlety here now. We're
and we're coming out from behind now.
Doing a pull through in here. So that added a whole new
dimension now. So as I come through, now I want to feel the
surface pushing back.
Come in and I'm going to feel the fullness now. This is just
pulling down even though we're getting a compression in here
of the buttocks sitting on the surface. And do that also, we
need to feel that that is turning away. So I'm pushing the tone,
Now here the surface is the leg is going back away. So as I'm
drawing this then I'm pushing the tone, the lines going back.
Creates a bit of the foreshortening within the form.
And so we need to now be really conscious of the other leg as
it comes down and compresses against this. So there's a
changing in here that takes place now as we come through
is coming down, it's going behind at this point.
This goes behind, we're coming through in front. Now the
form here is going to take and come overlapping again.
So now as we're doing that it's all part of this form
foreshortening is that we're doing here. We're taking and really
considering now how this form comes around.
Okay the line a flat for the edge of the iliac crest, then
we can feel muscles. Notice now it started out very general.
First the gesture, very simple volumes, and now I'm building on
those simple volumes.
And I'm just taking it to the next level of analysis of the
form. So I'm going over that surface
and this has got to go all the way around. So we started with
a very simple line here. Now what I'm going to be doing is
to taking it adding more volume by taking and going over this
way, pushing the form going back. Again notice I have
not dealt with the light source yet.
So we're going through. Now I take and overlapping again.
So now that we creates another form that will help to show the
foreshortening. At the same time now, we're going from the
knee and taking jump a forward a little bit here. We want to
go across the condyles at the end
over here. This is the corner of the box. corner of the box.
Pushing the side back now. I'm going up the patella. It's
coming across. So we're going over the end of the patella,
sides is stepping down.
Through. Now feel the corner here. It's going one direction.
Now all of this form here. This is your
vastus medialis and the line of the sutorius would be coming
down and pulling through into here.
So this is a plane now that's going down and you're all of
your abductors here now are
filling in, building up, so we can take and push this side
down. So as I'm pushing it down we're seeing the bulging
here and they come through here at the same time now, I'm
looking at the end. This is a form that's turned.
Come through, going back.
So I'm making a lot of considerations in here, but the
whole, this whole issue this lesson now remember is
accents. Well accents come at the end.
And so I'm taking and
carrying this drawing a lot farther than we've been doing.
Really I want to feel the - as I'm
coming down I'm taking into consideration the 2D, 3D,
and of course all of the anatomical structure. So now
I'm coming down to the kneeling point here. We can
keep in mind here that you have the tibial ridge comes across,
really coming over both sides.
Drawing it very lightly. If you control your value
you can draw everything without having a distortion.
Now here's where at the same time as I'm drawing this I want
to take in considerate of the other side here, behind.
Here, I'm just going to use a little bit of atmospheric
perspective here in thatI'm letting the line
not go through.
Here I want to take and really feel this is turned now,
the surface is turning going underneath.
part of the leg that's turned away from you. Actually the
closest things are the corners so
I can do a certain amount of letting that thing, the far side
sort of go and that it's dropping away.
And this would maybe we would actually have it in tone. But
I'm more concerned with getting these forms turning going
underneath and giving a sense of the roundness of the surface
here. And we see that that's what's going to be getting up
here now. We're getting a compression.
And I'm trying to keep the lines going along with the
direction of the cylinder.
Okay. As you come down there's a bit of pushing
against that leg, you want to feel remember the calf on
the outside is high. On the inside it's low.
We feel the pull, the these forms actually take and come in
And your shin bone even though it tends to look
curved it's not, it's straight.
It's the edge that's curved.
I'll go over
Now as I'm doing this, I'm consciously we have the
peroneus excuse me, trying to think
of the name, the muscle underneath here.
Coming underneath the gastrocnemius there.
I actually started teaching anatomy so I could learn it add an H so I could learn it
take and have a little dyslexia remembering names and things
If you repeat something over and over for 20 years or so,
you're liable to remember it.
Okay, now can coming through thinking of that again I'm
going over. I'm actually thinking of the way the bone
I'm going to go over the structure. I want to feel the
bones. I'm drawing finger. I'm drawing
underneath how this goes through.
Notice just simple cylinders,
I'm mindful of the structure bones.
Feel the arch on the far side.
And we'll come back to that.
Now going over.
Constantly rehearsing the stroke.
Standard cliche, which I've said many times already
Three looks, two thinks, one application. So when you're
rehearsing the stroke,
you're basically you're looking, thinking.
Feel the bone, the joint, I want to feel the pull. field
Tibialis anterior here as it comes down.
Here what I'm doing is I'm drawing this I was literally
of emphasizing that, giving the corner
so that we have a sense of Dimension already in that.
Now, let's take and go back up
and work into the arms of the neck there.
I want to feel that sternocleidomastoid coming from
Even here take and feel the trapezius behind.
Through and the pecs as they pull.
In this case they're sort of the origin is buried within that
breast and what you want to - as I'm drawing this I'm very very
conscious of the fact that this is a cylinder and that that muscle
now is pulling up and going around behind. So it's the
and I want to feel the compression in here. Now remember
the pectoralis muscle starts, the top part of it
starts at the clavicle
and it's pulling across. So on the other side this
will give us a little insight into that, this is taking and
And it's going through and we build these coming up, across,
and so that's turned, there's a volume taking place
And the fullness of the breast here in are you want
to feel that this is the volume now coming through
and we're building on this. building on this.
So now here the clavicle.
And this is - even though I really can't actually see it.
I know that it takes an instant s-curve that takes and goes back
and the pecs are beginning in here. So we getting an
overlapping forms as we pull through.
And here the neck, all of this, we would actually even have the
levators taking and pulling through.
Now we build, we feel the stretching coming through. Now
remember we've been trying to follow the line of the
rib cage underneath in here. So now the scapula is shoving out.
This is pushing out. So very conscious of the overlapping of
these forms now and from the underside of the scapula we
have the serratus anterior muscles that are pulling through
here, coming and attaching and the ribs down here now female,
she's not really developed. So we're not seeing on awful lot.
We just see a sense of volume. And then with the trapezius
would be coming in through same time. So these just are, at this
point, just simple volumes.
And if you take and
don't overstate it you can take and draw everything that's
Now in here this would be the brachialis.
And then we feel the triceps taking and pulling out.
And maybe just a hint of the deltoid behind.
Which should be actually be a little higher.
So taking and
analyzing and calling out muscles and things, what it
helps you to do is that you actually don't see something
until you know that it's there. Now I can see where I probably now I can see where I probably
carried this elbow a little too high so I'm gonna take and
shorten this a bit.
Picking up the end of the ulna here. We got the of the ulna here. We got the
condyles coming through in here.
And I'm thinking this is the corner. I'm going over
and here I'm taking we can feel the stretch
Going to feel the compression that's taking place in here.
working around that form.
Okay, let's indicate the other breast here. This is full.
Now when you're working with the breast you got to keep in
mind that they are on the surface. So we have to think
about how they're pulling off of that surface.
Okay. Now, at this point gone through We've got we've gone through.
the figure several times, what four times already.
And so now I'm going to go back in and I'm going to start
pushing it a little bit farther. Now, this is the point
you begin to emphasize
and in doing that I will take and use light, I would use
shadows and stuff to help describe the form
and to help to show the gesture more clearly. So as
we can feel that this is the major element that's taking
place. So now I'm going to come through and start to - and in
is sort of the idea of the
accent but we will come in beyond that. We will come in beyond that. We
will take I want to take to start now pushing this
corner of the rib cage.
I want to take and come down really feeling that this is
So I'm going to take and pushing tone
And feel the ribs themselves.
So I'm using a combination of
tone and cross hatching.
Now, I'm not going to worry about whether I catch every rib
or not. That's not particularly important, but I want to feel
this is pushing in so I wanna take and emphasize this as a taking emphasize. This is a
mass now that is pushing down.
The movement is going down and in.
Okay, coming across the stomach now we're getting a compression in
here too. Even though they were stretching we can feel these
forms coming around from behind,
through. I want to feel the
external oblique as it attaches it's coming over.
And I'm giving it a little bit of a turn.
And I want to feel the end of it.
Now coming through.
Coming out from behind. Now we really need to make this corner
here more obvious.
Coming from behind, pulling through.
I want to go back really emphasize, pushing
Now that's really getting a stretch and I'll start to give
a little bit of the tone to the side of that form, you get a bit of
volume and same time now we're coming around.
trying to orchestrate, organize, compose actually,
the lines even within very narrow compliance. I'm
Thinking of now very constantly I'm thinking of the size
of that shape to the size of this shape.
So it's big, small.
So it's pinching.
These are coming around.
So you can see now we're actually giving you the sense
of a light source. Now these two lines, these two things
right here are too much the same.
pull a little bit more, taking, coming down.
And here the angle of this so here's where the base of this
form really has to now reflect and help to show this
Coming across here, but at the same time I can take and be
feeling the pull,
pushing down, through.
So again I'm orchestrating the lines to try to create the
movement going through and even here bit of compression there
we would think the pubic fat getting compressed.
Now I need to clarify in here I need to make this come in front, me make this come in front.
like this, and then we're coming out from behind. So each time
that I go through the drawing I'm taking and looking at it and
seeing it a little differently. So it's building a
process. So here we can take coming down,
emphasize a little bit sharper lines.
This is a very big very heavy paper I'm working on,
which allows for a fair amount of
building and pressure.
There I'm using a cast shadow and see what I did right there
by taking and throwing this cash shadow in here and
emphasizing a little bit in here we're creating a reflected
light which actually takes and defines that plane.
Well now since I started working with light I'm going
to take and use the cast shadow, but I'm going to take
him play with this a little bit, come through. and come through.
and here comes through we can take and feel the top of the
surface here, goes back.
Now that really takes and starts to get us seeing how
these forms fit in
to the surfaces now I'm pushing
Helps me to get the overlap going
now before I don't want to get too wrapped up in here. I want
to go back up and start at the top and work our way down
Through. Now I don't want to spend too much energy on the face, but I
do want to take and
since we're giving a sort of a light thing there, I want to
now turning away, going over the top of the cheek.
Hair coming down, wanna feel the tones across the top of the
forehead turning away.
So that's leaving the light then to show the underside
of the eye socket.
top of the nose in tone.
Now that's pretty much what we see.
So now we will feel these surfaces coming down and I
started out as saying I'm going to take and
open the mouth a little bit. Give it a little bit more.
Now getting into the jaw you need to take and actually draw
And we need to feel
the neck fitting into the underside.
Wanna feel of the corner
where the hyoid bone is.
Thyroid cartilage. Sternocleidomastoid. mastoid
A lot of times that gets a little too exaggerated in terms of
importance, particularly if you're doing a portrait, you're
working with a female, do
not push those points.
Now even though all of this is in shadow and I am actually
starting to take and push shadow. I'm going to leave, get
the feeling of the reflected light pushing up by emphasizing
on the top of the surface.
Now, I'm going to take start to play a little bit with the hair
here and get a little bit of value.
Here, although I don't really see very much I'mtaking and use
the dark behind the ear, which now starts to become
a sense of
an accent in that
that helps to take and bracket come around on the other note come roll on the other
side starting to hit
darks, then become I'm bracketing the
head, then these darks.
Now I don't want to take and develop any one part too much
so I was starting - that's why I jumped away from what I was
doing down here. The idea is that you should try to bring
the drawing up as a whole.
So that's what I've been doing is taking and going through
a step-by-step through the whole figure.
Now I want to be pulling pulling all of this stuff. So
we need to
feel the corner.
Feel the turning.
Now I want to get, feel the pecs are going back into here and
it's a turn taking places that arm comes forward. So there's a
And again, I will use a little bit of a cast shadow here to
take and help show the volume now.
This takes and going over
and get the form going back.
Want to draw into shadow, I want the drawing to have a sense of
light. I don't want dark holes in my drawing.
Here now instead of just turning into
bowling ball, I want to feel it's compressing against the
Now all of these forms are pushing, going back and it's
So again control the values.
Again, this is an opportunity as I'm pushing these lines I'm
going to use the shape now of the cast shadow because I am now
using shadows. Coming through.
And what I'm going to create you is a strong luminosity before
and drawing the core cast shadow, the accent and the cast
shadow will create a strong reflected light.
Helps go over that surface.
Push this corner a bit more now.
As it's turning out I'm falling fairly closely
what's in the photograph without actually taking and
Feel the pull
Over the rib cage, over the rib cage
feel these pushing.
Now so far we have been working on the drawing for a little
over an hour.
So this is considerably longer than any of the other drawings
and we still got quite a bit of ways to go.
Over the surface.
Feeling that pull to the condyles,
really feeling the corner.
Here I want to see
in front, coming in front as well as going behind.
And this surface going back over.
And we can take and again
bit of a cast shadow.
Now here, I'm going to take the dark in the hair here
and carry it through underneath.
Again, this takes and gives us a sense of luminosity
within those forms.
Okay, that's it. We got a pretty good start going here.
Now. Let's take and
I need to take a little bit of a break.
So we've been slowly slowly going through the drawing,
developing it, and I'm taking and
building the drawing.
So I want to come through, this leg comes forward now. I'm
really emphasizing now the overlapping of the planes.
So you can see just pushing that line a little bit really
starts to take and here now, I would take it and push the
tones of the forms going underneath as
I'm developing it. Coming across.
Now hitting the corners a little bit more.
So because I was taking and been
basically introducing light,
then I can take and I will need to take and push tone s. Now
one of the things here is I interjected the cast shadow and
the core. I've been
at the same time it interjects the reflected checks the rear. Reflected
light. So the surfaces then that are facing up that are
turned away from
are taking and going in the tone and here I'm just taking using a
simple crosshatch to give a very very light shadow effect.
Now, I'm not going into the heavy shadows that you actually
We've done a little bit of that and some of
the other drawings but now and gave me a little bit of cast he gave me a little bit of cash
shadow. Off of the knee there,
over the tibialis anterior coming down.
I'm going to start to take and do a little bit now with the
the emphasizing as I'm working down into the foot here.
We want to come through and first one of the elements and
we talked about the idea of where you accent - got some
tone there we don't need.
Oh, while I'm at this I need to -
you need to indicate the figure should be sitting on something.
So in other words, I've been talking about that she's going
over a surface here. Well, we need to give that sense of
going over the surface. So this is taking and
pushing the corner and feeling the bones,
part of the emphasis is to -
and this is what gets you, helps students to eliminate a
mushy drawing. Mushy drawings are where it feels
mushy. How's that sound? Okay, pretty direct. Okay, but as I'm
by emphasizing corners and feeling where the bones are
actually protruding and coming into the surface helps us to
get away from that mushy drawing.
Okay, and so that's one of the elements that's taking in dealing
accents. Coming through I want to feel the bone. the feel feel the bone.
So that's one of the ways that we do or one of the
reasons that we accent
is to take and show
the anatomical structures.
And now that's one of the points. So in other words as as I
come across now here I'm going to be taking hitting the top of
the arch, feeling of the corner of the bone.
And even coming down and feeling the tendon for the big
Putting a little space between toes will give you a sense of
Feel the pad.
So I'm using the sharpness of the line also tends to become a
accent important. Even if it's not necessarily darker, the
sharpness you gives a sense of clarity.
Going over the surface, through.
Now as that - as the back leg goes back then I'm going to leave
that into a very very subtle tone.
Okay, and here using a cast shadow,
Okay the legs back, so I'm not - I'm just indicating a dying. I'm just indicating a
sharpness to the cast shadow and letting the tone go back
here. I want to pull this in front.
Letting that go behind but I want to here is as it
leaves the surface of the bench I'm taking and emphasizing
sharpness and then you can feel a little bit of the sag.
I'm not going to push that too much you can see
right away that little bit, very little change makes a big
change. Okay. Now we've gone through and we got pretty much
got set up in taking in emphasizing
the tones as we go through.
Okay. Now as I go build this thing up more
I want to take and start working - well before I want to
need to go through and since I've be a little
consistent here I need to emphasize and use the cast shadows
So the cast shadow off the armpit there.
the bronchiole, brachialis muscle there
and we go over.
constantly as you're drawing cast shadows to go over the
surface with the form.
And here as that surface is turning away we actually the
just by emphasizing the tone as a surface turns away
automatically introduces the core.
Okay. Now I want to take and really emphasize now the
overall movement . So I'm going to actually take and go to a
slightly darker pencil.
and although I could do it with just pushing and was like some
of these darks you can see they are darker. But this just a
little bit darker now, we'll take and emphasize,
give me a little bit broader range of values. Now so
this is what I want to take and get, feeling the stretch and
compression. So now as I come through here
but the stretch will be emphasized by we will take and
we'll helpfully, what I want to try to do is to
pick up a sequence of tones that leads the eye. So in other
words, this is where we're going. So now we can say okay
if I push the dark say behind the ear you see how strong that
dark is now.
Okay, so that even taking and picking up hair
that's coming down and I start to pick up the really strong
as we're building up.
Okay. So now that's a pretty strong
dark that we see within the context of the whole thing. But
I want to make the eye now
pick up a sequence of darks
that is going to take and lead the eye. In other words we can
start to pick up this coming down
going through and particularly now making this transition down
to the rib cage. So I want to
emphasize that line now.
So, now as you look at that you can see we're moving and
really making this feel like it's pushing out. So come
through now is taking and stretching, feeling the stretch
of the line coming down. Now, here's another point in that as
this comes into a narrow spot here I'm taking that line part
of what we're talking about stretching here.
You can feel the pull.
And carrying this down.
So it also takes and allows us to
feel that these areas here are coming out. Now
I tell you one of the areas where I learned a lot of
is taking and looking at artists,
Rubens for instance, you can see how systemic - they were very
very mechanical in many ways. Look at the Tiepolo's. You
there's the artist I think I've talked about
you find that very systematic about how they would work with
his course. So now I'm going to taking an adding and going back
to the other color.
Pulling around, through.
I've mentioned a few times a few years ago I had the
to take and look at a whole series of Rubens' drawings,
originals. And when you start looking at the original you can
see very clearly how he would come back in and how he would
actually hit - when you're actually looking at the
physical drawing you can see the lines that were put down.
So now as we're coming across from here, pulling around, I'm
going to push this even more now, I'm picking up, emphasizing
And at the same time now we can push, now I'm going to
combination. I'm taking this,
making this really strong
I may be over doing a little of this, but I want to take and
notice how we save the last, the strongest darks and lights,
until the end of the drawing.
I didn't start out with a series of dark
Now you're really picking up that compression that takes
place in there. See I'm really emphasizing the overlapping, the
fold, as the form comes through.
And here then I will take and emphasize the top of that
Go over and trying to do what I'm trying to do is to hit the
top of that surface as I go over.
As I mentioned earlier that tends to create the reflected
Pulling the lines, coming around.
Now what I'm doing, this is really very traditional
And you look at a lot of the academy people from the
Renaissance, you will see
the same basic idea.
See I'm hitting the accent as we come through so you can
feel these forms sticking out and I'm carrying this down all
the way into the knee.
So coming through feeling these lines, coming down.
I'm being trying to be very obvious with these points now.
So they may be a little overstated.
Create a cast shadow here where actually none exists.
Now I'm back up.
Feel the corner of the bone.
Now here we really feeling the triceps coming in front.
Over, thinking, going over the surface.
Adding more tone to give that form a little bit
Now as this is going back away I need to really get the feeling
these are surfaces that are trying away. So I'm using the
Go over the surface.
And we need to actually take and do a little bit more with into a little bit more with
getting the rib cage, feeling volume.
This is right now feels a little awkward for me.
Feel these surfaces.
crop the value a bit.
Okay now this will start to help with the direction of the
movement going that way.
Pushing tone on top of the eyelid
Actually trying to give her a little bit of a smile.
No, in taking and doing a
fairly developed drawing now,
typically doing something like this I would take and put it
aside and come back and look at it a day later and see what it
Or I can take
and second guess myself.
One of the things that also is just a simple little
idea is that
and students take realize this right away the realize this right away.
that the minute somebody else looks at your drawing
it looks different
and it gives - it clarifies it.
And so as you're drawing then the minute somebody else
comes in and looks at it you start you see it better. So
what you need to do is you need to learn to be able to look at
your drawings as if it was somebody else's drawing.
So that you can see then
what you need to work on, you're working with the
in other words you need to be able to self
evaluate your work.
Okay, I think we need to take and do -
this is enough here for a lesson to see what I've been
doing. And I think I'll leave this be
at this point,
maybe come back and look at it another day. Okay, that's taking
and get some of the darks. They have to be - once you start using
a different color pencil you have to be consistent
and carry through so it's not an isolated series of lines.
So I'm coming in.
over. One of the things that you should look at if you go back
over that drawing is notice how every line was going over the
surface and even though I ended up putting lots of tone and
giving a direct light, giving cast shadows and all
that, it was very similar to what the model was doing but I
was not actually copying. I was using the material that was
there and taking in developing the form.
Okay until next week then.
Free to try
1. Introduction to Accents43sNow playing...
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2. Long Pose 134m 21s
3. Long Pose 230m 54s
4. Long Pose 325m 7s