- Lesson details
In this much-requested lesson, Glenn Vilppu will teach you how to invent your own lighting from your figure drawings. As artists, we often need to modify our reference to suit our needs but few of us understand how to light the forms of the figure totally from imagination. In this seventh lesson in Glenn’s Advanced Renaissance Figure Drawing course, Glenn will use Faber-Castell Polychromos colored pencil and wash to draw figures from reference.
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change the light from what you're seeing number one, which
is natural for me, not copy. Okay. The other thing is to use
reflective light as a tool to take and show the change of
form within the shadow area.
That's a tool using reflected light. And so as
things are turning away in the shadow area that you also
having a new cast shadow. So anyway, that's basically the
lesson for this week. Okay, let's take and get started.
really sort of different element here and it different element here and it
is how we can take and actually work with manipulating the
light as we go. In other words let me take and do a little bit
of a demo here and show you what I'm talking about. Let's
Let's just say we have a shape something like
oh going down like a series of steps almost here.
we have a light coming from up here. So the top is
getting in light, in other words the dark behind here.
And all of the steps here are in shadow.
In other words taking coming down
and dropping all of this into shadow.
And I'm going to smooth this out using a chamois.
gone past the edges here, okay, so
now what we use is
the idea is that generally working we have two light
sources. One a direct light source, in other words here we're
showing a light that's coming across just hitting the top
and then a reflected light.
Okay now using the reflected light becomes
a tool to take from - at this point see we have nothing here that
take and show any kind of change in direction of these
steps that we were just talking about.
Okay, so if we have a reflected light coming in, that reflected
light is going to in a sense - I'm going to approach this and I'm going to approach this
saying that what we're doing with the reflected light is
that we're casting a shadow
into the shadow from the reflected light or just that
the reflected light not getting any light. In other words so here I'm
taking and so now we can see the change in the direction
Now I can take, at the same time I can take let's even
look at this difference. So now I'm just saying it's just like
thinking in reverse. It's like it's a light direct light
source, but from the opposite direction, but if I take and
drop all of this in shadow again,
I can achieve the same thing by taking and bringing out
that reflected light. Now what's happening now
when I do that
is that I'm using the reflected light
to take and
show the change in the direction of the form. So in
other words, we're coming across, we're going down, going
across, going down. It's the reflected light here that's
taking and showing us the change in that surface. Then of
course, we bring into that, we add the core which is taking and
a transition from the direct light into the shadow and we
would have a core on the side. Let's just say the light's are
coming a little bit from the side. Then we would have a cast
shadow which would be a sharp edge.
And so at this point here we would have a core again as
this came down through the side of that surface that we're
dealing with here.
And then we would have a cast shadow again, which is a sharp
edge. So we're taking and we're building these
as we're coming down. But the main element here is I'm using
the reflected light as a tool to take and describe the
form. So that's the main part of the drawing now. So
we're focusing on using the reflected light. Now I'm going
to take and we're looking at the model now, what you're going
to see is that I'm going to take and drawing this
model, but I'm going to take and totally manipulate the
light. I'm not focusing on the light the way it is. So as we
begin the drawing then - so as we're taking and doing the drawing
now, I'm going through all of the different steps that I
normally go through. First
as you've gotten used to watching me draw is I start out
very loose. I'm not focusing on - I'm not copying the model.
I start to take and by feeling
glow, now I am constructing, already seemed to draw very
I focused first on the gesture. I'm thinking of the axis of the
head, which way it's turned, where's the front? I do a lot
of drawing in my head. Imagination. I also just watch,
I'm taking and I'm rehearsing
the stroke. I'm taking and trying to feel what the figure is
And I'm thinking of the volume at the same time just like I
did the head.
feeling the twisting of the figure.
Now as you've
gotten used to,
my attitude that this is really - we don't copy the model.
We take and we analyze analyze the figure
and which is really an analytical construction. We're
slowly building the figure up and we're going to see here
that I'm constantly adjusting and I'll change the
figure. I'll change the pose. I changed the light to suit my
It's constantly going over and around the figure.
I don't worry about all the lines that I'm putting down.
They would basically fade into the background also working
with the chamois a little bit, a lot of this stuff is just
going to take and disappear.
I'm only going down to what you can see in the model there.
Now at this point
again, the next step in the drawing then it's a little bit
more careful construction.
Thinking of the direction of the form.
Now as I'm doing this I'm also thinking I do
think about the proportions. I'm not
actually coming out and measuring per se but I'm taking
and very conscious of the fact from the top of the head to the
bottom of the nose equals the pit of the neck. The figure's
going back in so that's a little different, a little bit
of foreshortening. Think of the neck as a cylinder type form.
from here, I really take and visualize the clavicle as it
turns goes around, goes up. So by drawing anatomy the whole time,
coming across, going over,
feeling the trapezius muscles coming out behind the neck.
That's where they attach to the clavicle.
Feeling the form. Now this arm is pulling back. So I'm feeling
the stretch as this pulls back up, thinking of the stretching
coming back and thinking of the ribcage is it takes and pulls
out. So what I'm drawing here is I draw one side, I'm always
thinking of the other side.
So what you're doing in a sense then is you're always focused
on the total. What's the whole. Coming through we started out
with the getting the gesture of the total. Now as I'm coming
through and drawing the forms I'm very very concerned with
the complete sense of that volume of the rib cage.
And I'll feel the pecs pulling off of that. I can think of the
pecs now, the figure is twisting. So this is going
we're going around this way, shoulder on the other side is
coming forward. So I'm coming across the here crossed.
So we can see the clavicle comes over and is attaching.
The scapula now is coming from the back, turned.
You can see where the deltoid is attaching to that corner.
Where we see
the clavicle and scapula coming together.
Now I first visualize this arm as a cylindrical form. It's
The two dimension will take and become as - at this point is a
secondary thing. It's the three-dimensional form that I'm
more concerned with.
Now we got to come across the twisting, you want to feel
coming through, so as that rib cage is coming down it's forcing a
compression that's taking place. And we start to pull these
forms coming around from behind, notice how I'm pulling the line
around, then we get the pelvis behind that.
Okay. So now when I'm drawing the pelvis here, I want to be very
very conscious now the pelvis on the other side.
We're dealing with the rib cage as it's coming down. So
there is a twist. There's a tension, we think about the
thoratic arch as it comes around. So I'm looking for the
Bottom of the 10th rib.
And since we're really compressing here, all of these
forms now are being jammed in here so we can start to see the
stomach, we can see the navel.
Here we can feel these forms coming around from behind. Now
this is a - I think of this as like a section of a cylinder,
just wrapping around from behind, coming across and
now we'll get the pelvis over here. We feel that this surface,
these forms literally are coming around from behind. So
we got the rib cage pushing down, we get the external oblique
now is taking and coming out from behind,
pulling down, and all of this now is a compression that's
taking place in here. Coming across.
Feel the fitting in.
You can feel the push down,
come over that surface, coming around.
Now from here as this leg comes out.
so as we're really focusing on this compression,
pushing down. So at the same time now part of that is we are
thinking in terms of compression. Now
we take and see that the leg - okay first first before we even
talk about leg, we've got a pelvis underneath
which takes up encompassing this whole area and he's seated
down so I tried to take and to consider the volume. There's a
compression taking place in here. It's going across thinking
of the volume going through, so it's a box form, but your so it's a box form, but
now the leg is coming through. And I started out with just a
very very very simple element here. And in fact thinking of
the leg essentially as a cylinder that's going back in.
Yeah but we're going back in to make this foreshortening
and also take and be concentrating now on the
compression that's taking place. So we get compression here.
This is actually continues on, we get more compression as this
whole thing is coming around. We got the pelvis, get a feel
the forms pulling around. Now as I'm coming around the leg is
pushing up against the this, the cylinder is coming in so we
have to start thinking these lines now as they're coming
around are going
and are taking and working with this cylinder. And so we can
feel these forms now coming around and feel the compression
Coming around. The leg now is taking and fitting in
so instead of just drawing a line here, we take and we feel the
line taking and going over and describing the volume. So now
we're taking and feeling these forms overlapping, one behind.
The more things that you can put in that are going to show
overlapping, the more three dimensions you're going to get.
So as I go over the surfaces, I come around from behind.
Coming in. I'm adding, constantly visualizing these
volumes as one fits into another. So we go over, here I'm
thinking of the abductors taking and going behind.
Then we're pulling in
front. So right away, we've got more forms that we're taking and
constantly going over the surface.
We feel, we carry the thing all the way through, working
So now as the knee comes forward now, I'm very conscious
of the fact. Okay, we start out with the idea of a cylinder but
the end of it we're talking about a box form. So I'm
thinking of the corners across. So as you go across the form.
Now later on notice for instance the one thing I
haven't talked at all about, I haven't talked at all about the
I'm not drawing light at all. I'm just taking and focusing on
the form itself. So here you can see I'm hitting the corner
across and we could actually even pick up the tendon as be even pick up the tendon as
it comes across to the patella. The patella is on the end here.
Now that becomes another form building on top, we can take and
come across the end here. We got the
this is probably the tensor here,
which is coming all the way back now here then we have
coming up under here we have the biceps of the femur.
Coming through, coming down. So I'm constantly focusing on how
one form fits into another. So in other words what we see at
this point right here is the iliotibial tract - excuse
me. Take that back. This is the
coming across down here to the kneeling point. And then behind
that see it's always - I'm always going coming from behind. And
here we see the beginning of the calf here. Gastrocnemius
the calf on the other side going behind.
So now I've got this roughly built-in, you can add some of
the vitals in here.
feel the volume.
Again going through. Feel the volume coming across.
Through, thinking where are we going out to the end of the
knee on this side.
Now as I'm doing this, I'm also realizing right away well,
gee, I didn't pull this arm enough down forward. So this
arm is really pulling so I'm thinking now the pectoralis
muscles are coming across. This is stretching.
The biceps now, the whole arm, the cylinder of the arm is
taking and coming down a lot more in down into here. So the
elbow is up against the leg.
Coming through. And then we're really dropping with the arm
coming down through in here.
So again I was taking and trying to feel this stuff
before but as I continued the drawing I'm taking and
continually adjusting and correcting and seeing things
that I didn't see before and this is what you're doing.
Drawing is a process of seeing, you're learning how to how to see
in a way. You don't see something until you draw it. So as I
constantly going back over, through,
coming down. Let's take and go back and work out the upper
Now the shoulder here is really it's lifting, want to
feel the lift.
So the idea of I keep using the word feel but that's in a sense
that's what you're doing. You have to
sense about what is actually happening. So that's different
than taking and just having a very critical eye and looking
at the shape of the thing or copying it. We're not copying it,
you want to feel the actual action of what's going on. So they
come through now I can see that well this is pretty small. I
was drawing it here before. Got to think of the volume now that
I'm taking and working with and as I draw this again, I think
about if I really want to make him leaning over this way I'm gonna
take and emphasize that ribcage again a bit more so I would
take and - see
I'm starting to push the volume here and creating a line that,
making the eye go more in this direction.
okay as the arm goes back then I look at the deltoid muscle as
a section of a cylinder going back and fitting in.
Go through. We pull the from behind triceps. Again this is
like drawing the leg. Now, I'm constantly working lines
that are wrapping around and over the figure and we're
Now that arm comes out
and again, I'm jumping to the end, the hand out here. I want
to see this as a volume, but we're getting a compression in
Now the other side, pick at the condyle, looking at the volume.
This is a volume that is coming forward and so as this pulls
at the model see that wrist very rectangular in shape,
it's really a rectangle with coming out and
then we feel the muscles taking and coming around from underneath,
pull and then eventually we will take it into the hand
which is up here. Look at the angle right across the
knuckles, come through.
And I'm treating that fairly simply, more as a - which is a
very traditional sort of box forms to begin with.
So each one of these steps then is taking and coming through.
Notice that I've been drawing using the box here or
thinking of the box here. We're talking about a cylinder here,
very simple geometric type forms. Nothing
particularly complicated about that, but the difficulty is
that we tend to get overly preoccupied in the beginning
with all the bumps. So
let's go back to the muscles on the other side here. It's
coming down. Now we can think pecs, we're taking and pulling
down here. He's twisting. He's coming across, pulling. Now I'm
drawing lines that are actually showing the twist, before I was
taking and drawing lines that were carrying me through.
Now, it comes across from here. We can start to see the part of
this compression now as the rib cage has been pushing down.
We can feel this pushing in,
the pecs now are coming across and there's a twisting
taking place. Now this has a cylinder type feeling as it
This is a - as
you look at the pose this is very similar to the Belvedere
torso of Michelangelo, which was a - the Belvedere torso
was a sculpture that was found in Rome in Michelangelo's day,
and it is
I believe it's a Roman copy of a Greek.
Now I come back I see the head needed to be a little its they needed to be a little
Coming through, slowly adjusting.
Back to the arm. I want to look to where the deltoid is
attaching, building through, here seeing across the form this
way. Corners to it.
through, overlap through, across the volume here, triceps behind
And across the deltoid now you can see there's real clear cut
corner. This is really where the deltoid, the biceps, the
bracchial muscle, the triceps. The whole upper arm has the very
rectangular quality to it, fitting in.
Now into the.
Now come down just like any other arm that you can look you
can see the wrist is a rectangle.
Coming through. Now you have to be conscious of the fact that this
from here to here is longer than the distance from here to
where the joint is. So that the forearm's actually shorter than
Maybe I need to shortn this even a little bit more. even a little bit more.
Feel the volume.
We've gotten ourselves into the point where we can actually
start thinking about little bit of tone.
I got him sitting on something. Okay. So now
the whole lesson is actually about how we work with the
light. So now I'm just taking and dropping all of this down.
And I'm actually going to take and add a little bit of tone on
top of this.
We've got -
as I've done that, you know, we really haven't lost anything
just added a tone.
So now what I'm going to do is I'm going to focus on,
change the light.
I'm going to take the light and say pull it back a little bit
And so that the light - so what I'm doing this then is I'm
going to come through
and I'm going to work with the idea. Okay, you can
visualize the head
as sort of a rounded cylinder.
This one. So that I'm taking the
using the core, coming across, pushing tt maybe back a
little bit farther so that we can take and coming through and
then the rest of this is all in shadow.
Now as I'm doing this then so I'm taking and saying well, okay,
we're taking and pushing the tone, the core, the head.
Coming here across, you can even use the hairs giving a bit of a
Most of the forehead here now is going to be in tone and
maybe I'll pick up a little bit of light
on one of the eye
socket there and a bit on the nose.
pick up a light on the cheek. Far Side.
Now so now I'm dropping all of this into tone.
So we've changed the light source direction
already. Now particularly now as I come through here I'm
going to take and
we're going to get a cast shadow from the neck.
Across the clavicle. And so I'm taking and making her now
I'll change even the direction instead of the light coming
from way over here, I'm taking turning it from around here. I'm
Taking across the end of the shoulder.
Now I'm going to go through several different steps here
as I'm doing the drawing
we're dropping all of this is in tone.
And I'm going to come across the end of the deltoid here.
going to take and use exactly what we talked about on the
lesson here. I'm taking and feeling where the light source
is coming from.
So thinking of the reflected light and cast shadows, I'm
thinking of a reflected light coming from the
bottom. So from here now, I'm taking and we can start with the
idea of the - and it's pretty much actually what you're
seeing on the model now
is that we can see that the tone here is coming through and
we're seeing the neck by the way that we're seeing the
reflected light being created. So in other words the
top of the shoulders, the top of the pecs here are in tune and
in tune too. Okay. Well then we got the cast shadow coming
around here. So that's really describing this cylinder.
Now as I talk about the head itself, I'm taking and using
on top of the cheek.
I would take and using the tones on top of the eye socket on
the top you could actually add say a cast shadow coming over
the surface here.
So the whole underside of the eye socket then is in light
because it's picking the reflected light coming across
and so then as I pushed the tone down through here, we are
taking and underneath the nose being shadow,
coming through I'm constantly taking now and adjusting what I
see by the way I'm thinking of the light coming up. So,
for instance okay he's got a beard that's
convenient that takes and shows but the upper lower lip would
be in shadow.
You can take the chin itself would be in a tone and you can
see I'm leaving a little bit of the reflected light on
of the lip. So then as I'm coming across through here I'm
picking a tone. I'm not drawing the beard at the
moment. I'm really just thinking of the form. So now we
could taking and would come underneath.
So I'm manipulating the form to take - manipulating the form to take
or the light to take and describe
what the form itself is doing.
So now as we start going down the figure and here like see I'm
taking and changing the light and here I'm taking
in coming across
a bit of a cast shadow coming over here. I'm going to take and
pushing the tone and here we can take and come through and
we would feel the light hitting
the deltoid here. Coming through. Here the forms in through here is the forms in
the light as we're rendering those we focuse on using the
modeling tone. For instance now I start to push the tone,
pushing back so we can feel that surface going away, coming
through. I'm taking and thinking where the corner
coming around we can feel the triceps
or trapezius coming around to then feeling in. Notice I'm
really pretty controlled in how dark I let these lines get.
Really subtle. I want to take and get a bit more tone into this
arm here over then pulling it over a little bit. I want to
define that how it comes through.
And it's coming down then I can take and since I've changed the
light a bit more we can take and emphasize
a cast shadow
and I'm pulling the core
down. So you can see how the just the way I'm drawing that
core it in itself is giving us a reflected light. So now as I
come through, all I'm taking right here is I'm taking and
pulling the tone. I'm just letting a little bit here. Now
the top of the pecs now are taking and turning away.
This is in shadow, core.
So we would take and be showing then in here a reflected light.
And we can define how that pec comes through by taking and
putting a bit of tone on the top of the pec.
Pectoralis muscle here where we can start to see these forms
going in and I'm going to take and drop all this, I'll just
give a very broad sense of the core.
So now as I'm working with this figure coming forward, so we've
got - went up here on we got the deltoid.
So I'm in the reality and you can see I'm actually using a
combination of what I see. Some of this stuff is going to have
to get reduced down but here as this comes around I'm using
then a tone
on the top of the pecs to take and show
the stepping as the steps down we come out and then we are
going to be stepping down again. So each step then
the idea of the reflected light now here for instance as I come
underneath the pec, I'm taking and putting a tone on the edge
And so I'm leaving the pecs, the underside of the pecs picking
letting light, want to feel the forms going behind. So as the
rib cage goes underneath.
I emphasize that and just starts to come forward.
Then it's pulling down into here. I would leave this
in reflected light
and start to feel the surface of these smaller forms then are
taking as they pull.
Now here's where we can really - you can see
all of this stuff is slowly taking and
being defined as much by the direct light as it is by the
modeling tone and the reflected light.
Or all three. The reflected light, core, cast shadow.
You have to be willing to take and willing willing to take and
change from what you're looking at.
To take and define forms. Coming through.
Latissimus back underneath here is all this is in shadow.
Now I can come through here and since the light's really
coming from behind then there will be a point here where this
form comes around from behind, I will leave and I'm pushing
this make this even stronger.
Then I can use a cast shadow here.
And picking up a bit of the light from behind, going to pull
these forms through.
Now all of the surfaces here, the stomach now is taking going
through. I'm going to take and
feel the forms pushing down.
Now you have to you have to really manipulate
to take and describe the forms.
Now here see I'm hitting the top side of the hitting the top side of the
external oblique and see the underside here is pushing up
against the pelvis, this point. So we can feel the form going
Now here's where we were dealing with all of
this compression in here. So I'm gonna take and come
through and give it even a bit more coming from behind.
So now these surfaces, these cylinders that I'm drawing in
here are taking and we got the naval which is coming
across here. These are the edges of these cylinders is I
started pushing, I'm creating these compression, these forms
we can feel the surface here going back in.
And we start to build these forms.
going to use the light that we see up there. I'm just going to
do it all with the idea of the reflected light.
Well the top surfaces are turning away
from this which now is starting to become a really strong
light coming from below.
As I'm doing this I mentioned the fact notice that if you look at
you notice that I'm getting a tone on the side of my finger.
As I'm going through the drawing part of what gives me
control over what I'm doing is that I'm always running my
fingernails or my finger on the paper.
So in that sense it makes sense then to taking and working
from the top down.
I'm thinking pushing more.
Now pulling the pelvis out a bit more,
through cast shadows.
Here since I'm taking and making the lights coming a
little bit from behind farther out, I can take and get a
little bit of a cast shadow over
part of the leg. Now this becomes useful now all of this
reflected light we're going to have to take it and
slowly build this thing up is being created by
the light bouncing off of the legs.
So all of this is done going down in tone.
Coming through. Now at this point here I'm feeling them back in. So
now if I take this and bring - brought the Bruno, you'll be brought the
light farther out, I'm going to cast a shadow over the leg.
So this is dark but even within the dark cast shadow you can
see there's lights on the corners of the form or the
parts of the form that are facing us. That's part of the
modeling tone. Top of the pelvis as it goes back in.
Darks will give me really exaggerated this point,
exaggerated sense of the light reflecting up against the torso.
And I would take and turn some of these forms away.
Over now I'm going down, core.
Over, constantly going overlapping, going around, coming
through. So now I'm going to take and throw the end of the
knee into shadow.
Since I've got the light coming from farther back, and so then
I'm taking and picking up a tone coming around the patella.
Now here I'm using the the accent underneath
and the forms here to create more luminosity. So this is
something we've talked about before already, is that we have
the light between
two darks. In other words the core
becomes an accent underneath and we could even be
thinking of this as the shadows underneath the leg coming
through on the bench.
So this is taking a whole different look to what we're
doing. Now I want to come back and I want to keep going back
here a bit and emphasizing
the turn coming around,
feel the form pushing back.
Feel the things fitting in, overlapping forms.
So this is really now as I'm doing this I again the whole idea of
this gesture is going doing this. So I want to take now and
Pushing I'm gonne feel these forms fitting into here and make the
ribcage come out more from behind.
Pushing the tone
to make the action lean more. And at the same time then I'll
take and come back on the other side and I'm going to take and
As these form start to come around from behind
and here I'm going to make the
rectus abdominis here feel more like it's being pushed up into
the thoratic arch
And then a bit of a sense of thoratic arch a bit more.
Each time I go back into the drawing I'm constantly
taking and trying to clarify the gesture,
but now pulling the biceps out from behind in here, coming
We've got this part of the leg now, we've thrown in a
little bit of a cast shadow so that gives me another
opportunity to take and draw the core.
And the contrast of the cast shadow will help to take and
bring out luminosity even a bit more. Feel the forms pinching.
Core now since we moved the light a bit here I'm going to
take in use a tone coming around here.
So building, building.
Again as I'm putting the light from further back I can be he further back. I can be
dropping this more in tones.
By the way what I'm drawing with is a
charcoal, this is an HB. And the paper I'm drawing on
is very good paper. It's a very expensive.
I can't even think of the name now.
But it's actually an etching paper.
This is actually the thin.
Last week I was using the
Okay back in.
Now as that goes down in I'm hitting the core, coming across,
and I want as this pulls out now this is very close to what
you're seeing. Now we get the
next series of forms here the triceps, brachial, biceps, this is a triceps Brock Hill biceps is a
part of a basically a cylinder coming out,
and wrapping around
and going back in.
Feel the pinch.
The muscles pulling around.
Here using that bit of that cash shadow.
Since we have brought the form around.
Feel the pull, the arm, the wrist coming out.
There's a real definite corner going
over, feel the thickness
the muscles going underneath.
Model and tone coming across, stepping down,
and then we start to build on top. Now go through here, fitting
one on top of the other. I look for the corner,
over the surface,
down, go over the corner.
So it's a box form.
Okay, so each step now
is just a series of box forms
and progressively as things start going back farther
I'm taking and will simplify.
One of the difficulties with drawing hands
and feet at the same time is that we, because they are
complicated we tend to overdraw them. We spend so much
time on that they become
more important than they actually are.
Now I'm making this
got off here. It's a little too small.
All going back. Okay, let's take and I
don't want to spend too much time on this now. We got go
through, this is going back
in, notice the overlapping forms going back. So notice the
modeling tone pushing back.
And you want to feel the deltoid is really compressed
Now, let's go back to the head here a little bit.
A little bit more information.
Using the hair as an opportunity to just to take and
bracket some of the whites, even coming down putting in the
Want to feel the twist underneath.
Nopw as I'm doing this going through, I'm checking
where the eye is in here at this point I'm taking I will
use a tone on the top of the eyelid.
It's turning away.
And since we're taking and coming through
now there's a - he's posing so there's not
a lot of emotion involved in the
face with the expression, what have you. Very
So what I'm going to do is to take and add a
little bit by taking and
Very subtle shifts.
Giving a little bit of a snarl.
We got the eyes sort of cockeyed here.
Okay, the head now is feeling like it's over done.
So type of thing is I look at that, it's way too much I would
Now one of the things I haven't done, I haven't used the kneaded
eraser at all. And which is actually a useful tool that can
take and come in
and the case here of taking and just blotting, putting in
There I'm using it to
silhouette a bit of the line to make it look more -
look stronger a little more.
Pick out light.
Push, surface that are turned away.
Okay, this is the enough for this.
I keep saying sometimes it's beating a dead horse.
Let's try something more.
Now I'm going to use the wash to take and get a lot of the
tone that we're going to taking work with.
Coming through so I'm putting down a fair amount,
feeling the form going down.
Feel the ribcage and what's nice about this pose is
the way the upper torso is taking and turned and going in this
way and the pelvis is going the opposite direction, coming back.
So we really feel the sort of a - if I break this down
again we see this is really a big box form taking and going
back in that way. And the ribcage is this round form
in this way and we can see very clearly now how these forms fit.
One into the other. We can get the sense of this
here coming up,
the scapula taking and come across the arm coming out.
Really pushing up
here. This comes through.
I feel the neck, the cylinder of the neck coming down into under the mat coming down into
this is dropping down and
Now come back and
seven cervical vertebrae. Coming through you can feel this pushing
Stretchy in. This leg now is taking and
back in. So this is a cylinder now.
Taking and going
in this direction.
And feel the corner of the box here and down.
Down here the leg is really going in. Now here's
where you have to take and really be conscious of the fact
that this is really foreshortened. This is - you can feel the shorten. This is make feel the
pelvis and these forms fitting in here. It's
coming down, corner.
Like I say this - we can really think this is really going in.
So the way to get that to go in is through
overlapping forms, finding the corners. So as I'm
drawing this I really think this
it's going back,
That's fitting then into the knee back in here. Now the calf is
taking and compressing against this, this is taking and coming
in the opposite direction. Coming around the heel is this is a
forms are fitting into
this, and then we're picking up the heel coming through, foot
Now the other leg again is also foreshortened, coming through,
forms going in and you can see how clearly the overlapping forms
coming through here, going back, fitting in, we're going
over to the other side.
So all this is and being fairly quick about this very simple
construction. You can - where the foot's going in down here. This
is going down.
Go from one side to the other.
And we're picking up the soleus muscle underneath, gastrocnemius
there coming down to the heel.
That shoulder is actually slightly going forward. So
first we want to feel the pull of the muscles from behind the
The trapezius is coming across,
going over to
is taking and coming across down to here.
Then you can feel the volume
of the forms as they take and come off of the rib, scapula.
Ribcage really pushing out.
And the stretching down.
See the arm is coming back.
And the forearm going down.
Feel the thumb wrapping around, over, side of the hand coming down.
And fingers then coming out.
The other side take and feel the scapula.
Trapezius being shoved up against,
and feel the end of the scapula.
And as this comes back down, I look to the elbow.
Deltoid coming down, looking to where I'm going and feel the
shape, horseshoe shape, of the trapezius.
I mean tricep, excuse me.
Common tendon coming down.
Condyle, medial end of the ulna.
Okay, he's got his fingers turned. It's just really a very
thing so I would take and stretch them out.
Got this coming up a bit high here.
come from behind.
Underneath. Now, what I want to do is to take and use
the wash to take and start describing
forms in space and to take and use the cast shadow reflected
light to take
explain the forms in space a bit.
Still adding tone here as I'm doing this.
Digging into my pocket here to grab the
Got the head going back so all of this is dropping in tone.
I'm going to take and like in the other one I took and
adjusting the shape a bit.
Going to take and push this back to light a little bit
farther and so that the
light is a little bit higher and I'm dropping this down.
This little bit pushing the corners.
And as this is going down I'm taking this, going a little bit
Pushing around the corner, emphasizing
And leave a little bit of light hit the front saying thinking
it's coming from the bit from the other side and I purposely
taking maybe picking up a little bit of light on the
Coming through, this arm drop this completely in shadow.
And with all of this
see how the
using a wash is very
very convenient for taking and
very quickly blocking in
large areas of tone.
to take and render this a bit more
the idea was to use
the reflected light and cast shadow so now
a form was pulling up into here, we could see here's where
the ribcage, the compression was at this point. So if I take
now and I'm going to drop bringing the cast shadow
through into here
and carry this across the whole length of the form.
Now in doing that this becomes more of a reflected light, so
as I'm coming through then I'll be pushing the tone to the top
of these forms.
So you start to see
the form here,
the change in the direction of the surface is being caused by
the reflected light going up into the form here.
So we come through, start to feel the compression, and as I would
build up into the figure farther than I would take and
feel the forms.
Here do the same thing, I would take and use the cast shadow then taking use the cash Shadow then
going from the neck,
going over the surface of the form that's taking and describing
then the neck itself. Push the tones going behind.
So as you build on these forms that I come underneath,
we will end up leaving
areas of light.
The surface turns away, push the tones. So I'm getting more of down. So I'm getting more of
the reflected lights building into these forms.
I should have checked this paper for water
as it's not being very
Feel, working, adding core.
Here as we start turning away from the light, I would be
pushing the core or like I say this paper is not working very
well for this.
Got a little too mushy. I thought I had heavier
paper on here.
Okay through, underneath,
taking and putting the tone to the top and finding that
straight and talking about letting the forms getting letting the forms
underneath pick up reflected light.
Bit of a cast shadow over the leg.
Here really really push
the core coming through
and then we feel the reflected light on the side of
the buttocks just by
the emphasis of the line itself.
Core, we're picking up reflected light,
Bit of a cast shadow.
Turning away from that core
sitting in cast shadow.
Cast shadow again
brings out the reflected light.
Over the surface.
helps us to show the form facing us.
Here sitting down.
Push the accent underneath
bring out the reflected light.
Forms turning away.
Give a little bit of sense - actually, when you're
taking coming through using the cast shadow again brings - it's
an excuse for giving a little bit of luminosity by getting
So it's a very different look than the last drawing.
Actually, I don't think adding water to this is going to help
much. Let's see what happens.
Feel the paper.
the light and the reflected light and tone. Couple different ways tongue couple different ways
working with the wash, working it straight, using chamois, all
kinds of variations of tools. Next week I'm going to take and
introduced a whole new way of taking and dealing with form
with the light. So have fun with this week and look forward
to seeing what you do for next week. Take care.
Free to try
1. Intro to Inventing Light47sNow playing...
Watch the whole lesson with a subscription
2. Light Concepts12m 38s
3. Lighting Demo 110m 33s
4. Lighting Demo 28m 13s
5. Lighting Demo 311m 19s
6. Lighting Demo 410m 8s
7. Final Lighting Demo10m 35s
8. Lighting Back Demo21m 20s