- Lesson details
In this lesson, Joe Altwer will be drawing 4 different 2-hour poses using the Sight-Size methodology. You will learn how to block in a ﬁgure with straight lines, deﬁne a contour and a shadow line, develop shadow shapes, and apply values for shadows.
Academies and ateliers around the world are increasingly teaching an American realist approach to drawing and painting known as sight-size or classical realism.
Hosted by Florence Academy of Art founder Daniel Graves, this massive course is the most comprehensive breakdown of the sight-size approach ever produced online.
By the end of this course, you’ll be an expert in the approach and be ready to take on Sight-Size Painting Course, scheduled for a 2020 release.
Discuss this video in the forums!Discuss
Transcription not available.
the width of his ankle a bit more correct,
which will help me define the width or the taper we can say of his standing
leg. And then I will go back to the figure and also try to improve the
way he’s standing before I move on to working with the light and shadow.
So adjust the highest foot here. Maybe I should also mention something that as you're putting down the lines
we can also think about how how dark we’re making them
for no other reason except for being able to erase them without staying in the paper
as much. So as I’m doing this, putting very little pressure on the pencil.
It's really just enough to make the mark from - to be able to see it from
where I'm standing. And then we'll continue to see if we find that.
So again trying not to be so heavy-handed. If you are try using a softer pencil.
So right now I'm using a B pencil.
So if you're very heavy-handed by using,
you know, make a 3 or 4B pencil and try to teach yourself to make a
light line with with that.
It will help you to be a little bit more light handed.
Okay. So I don't want to develop the outline too much before
I start working with the light and the shadow here.
Because I also wanna place that in and refine it at the same time
I would refine the outline. \So I can start working on the legs and the feet in
one second here. I’m gonna try and attach these arms a little better now.
Before that I’m just gonna double-check the position of forward facing shoulder.
So I find this arm can go up a little bit higher.
Okay so all of this looks okay to me for right now.
We can always move it if it's not in the right place or if it needs
to be adjusted. Okay, so if I follow the inclination up that should take
me to the point here the shoulder before it goes down the arm and I find
that can shove back a meter or so.
Okay, so it's the same thing keep the arm a bicycle.
We don't seem to be inside the arm for now.
So what we can do
is really just go for the outside shape.
The whole line there's representing the arm and hand.
So I just got my eyes -
I can almost get them to connect together with one line rather than having to break up
the line in two different segments. So as I’m going down the arm here I also need
to get myself somewhere to stop and just using proportions and distances.
So I can try to mark
just here would be where the division of the arm is. I'm going to quickly go back inside
the size and shape, the height of the hand.
So I see the wrist as being somewhere around here.
So what we can do is kinda just note
a change. That’s gonna be a little higher up. So this is gonna come up much higher.
I’m just moving my shapes around through here.
Have to come back and do another pass or two.
Okay so on the other arm we just need…
Just checking the height of the elbow.
Okay so then I usually stand back a little bit further out of my sight-size position just
to take a quick glance. See how
things are going. I find that
sometimes if you were staying in the same position for too long you stop seeing so well,
so it's always good to either take a break or stand back little bit more.
So now after I have things positioned more or less on my drawing, I’m gonna spend 1 minute to go back and
see if I can improve the gesture of the drawing, again as we talked about earlier
trying to show a little bit of more compression on one side and everything being a
little more stretched out on the other side.
And then we'll begin with our shadow and light.
So you want to look at the kind of gesture and the rhythm of it. Looking
the mirror for me really helps a lot.
So what I'm doing in the mirror is looking at the model upside down in there.
So I see the model both -
and the model and my drawing in the mirror upside down, side by side, and I
can flick my eye back and forth between them in the mirror and
see if anything jumps out at me.
Okay, so we'll have a quick break here and when we come back,
we will continue to work on the gesture one moment and then we’ll move into
our shadow shapes. So I’m back from my break now,
and I'm going to continue on working
on improving the gesture a little bit.
Okay so I’m gonna to try to straighten out this line a little bit in.
through here. What I was doing there is trying to see when you have a long
Groove, you can do a couple things, you can hold something straight just against it
and see where you can stop the inclination -
what was the next one -
when I do that I feel he is just above the belly button.
So right around this area and I know to switch into describing,
you know, little piece of the hip that sticking out and then going into the leg.
So with that I’m maybe gonna head back just a little bit more.
Maybe push this one out a little bit more. So I think what I've done through here is the head is little bit too far
over. With the gesture of the pose if you take away the head it looks like it works
okay. We have a kind of swing to one side and then going down to the
leg. But when I look with the head - without the head it looks like it works
okay, if I take my hand away the head seems to jump off to one side a
little bit which also will not help you improve the gesture but actually take away from
it. So what I was doing with the plumb line was holding it out again over
his standing foot. Sorry over the heel of the back of his foot here. And as
I go up from here,
I find it that if you draw straight line going up,
does the head come move over a little bit more which is quite nice.
So if you move that over just a little bit more.
I guess a little bit more room for his shoulder as well.
We are also looking for this information back just a little bit more.
I find this to be a better placement of everything.
So as you know, we’re moving on to adding our shadow shapes.
It doesn't mean that the drawing now is perfectly proportioned or resolved.
So the reason for me saying that is just remind you that as we're developing the
drawing or we're going to continuously correct and modify our proportions, gesture,
and the design of our shadow shape. And the design is just the shape that
we create by drawing the shape of the shadow.
Okay, so again we’re gonna treat it as if we were blocking in the beginning lines
of the figure, as we did on the outside.
But now we're going to do it paying attention to just the shadow line and what
shape that creates in the light of the figure.
So you can start anywhere you want but we want to simplify
it as we’re not going after the detail.
It's going after the bigness.
So I’m gonna include his hair. When I squint my eyes his hair in the shadow kind merge
together. So I can include the hair shape
in my shadow shape for now.
I also want to mention as we’re doing this,
we're not creating a value inside at first, we wanna
first establish our line, try to refine our lane a little bit,
and then we can go back and start to put a value in.
If you feel that you need to correct a contour as you're putting on the shadow
line, even better. If you find an area maybe even like for example here in the knee
which gets a little bit complicated, do your best.
Put it down however you see it.
And then we find it after that.
So when an area like this where we can't see clearly the shadow,
I'll put something down and then in my second pass I’ll come back and try to redefine that
the shape there. Just indicating where the separation of the big toe is, usually helps to kinda
give direction to the foot but also helps me to kind of relate this to where
it is to the leg. It’s definitely not a must but I find it helpful.
So the shadow shape gets very thin in some places as well. Again, do your best to leave a space
between one line and the other line.
Try to make out any of the little bony points as you can as you're going down,
especially when we get towards
the hands we make sure we have a wrist, otherwise just looks like a tube that
goes to the hand itself.
As for the hand goes down through here.
I'm not going to worry so much with small shapes like fingers yet
because if I need to move the hand then I mean,
I have to move all of the small shapes, the fingers.
So I said I will try to just give myself an indication of the line of
the knuckles there and go back up the other side of the hand.
And I should try to refine the shape of a little bit more.
Okay, and the other side I’m gonna start drawing a shadow that goes down through here.
So again, I haven't drawn anything inside the face yet.
I can do that now but I wanna draw not everything.
I don't really care so much about where the lips are places yet, what I really wanna
do is get the overall shape of the face going.
For the same reason as the fingers if I go in too soon
and I have to move something big that means I have to erase all the work
that I’ve done, so it's better just to make sure the big part
is in place. Here.
It's when I start with -
actually before I do that…Okay so I’ll start by putting in the shadow shape of the brow through here. Okay when I squint my eyes I can make it into a connecting shape
that goes across through there. And also the shape for the shadow on the forehead.
So mark out where the nose is. Okay,
so when we get to the mouth I’m just to leave that empty for a moment here.
I can draw where the chin
is going in there. And what I’ll do is kind of lighten that line through here
so then it doesn't attract my attention,
but I'll still be there structurally.
I can shows as well where the back of the eye will stop.
All right, so it's time for a little break.
And before I take a break myself here,
just clean up a couple lines.
Okay we’ll have a little break and then we’ll come back.
Transcription not available.
Transcription not available.
So my goal these next 20 minutes will be to have the shadow line in completely around the figure
and then I start to develop the outline with the shadow line and we'll see
how far we can take it.
Okay so I think we can push the edge of the shadow of the nose over a little more that way.
Okay so now I’m just gonna connect the eye shape with the other side of the shadow.
And mark the other eyebrow on the other side which is a little bit higher than what I did.
And I think I don't want to do anything more in the face yet just because if I
have to move it, it'll be a lot more effort to move it.
So I think I'll keep it like that.
Again if these little drawings it’s not about making a perfect portrait.
It's really about just understanding the overall way the person’s standing you know their body type, whether
they're a bit heavier set or or thin,
If they have long or short legs. Push that back to being simple shape for a second.
Okay, so now that I have everything kind of down,
I can go back and refine my shapes just once quickly before giving a value for
the shadow. The edge of the shadow as well. Okay so once I have all my shadowl shapes kinda
mapped out, I can go back and start to
refine the outline and the shadow first before I start getting into
any kind of value with the shadow line
in terms of feeling in the shadow. We can always work with the value of the outline of
the shadow, which ultimately does the same as putting a shadow value inside the figure. So the
first thing I'll do here getting ready to go into the figure, anywhere that has
you know, the bit more contrast the shadow line where the shadow line used to be
a little bit more developed or even changed,
like I'm doing here on the shoulder.
I think is a little bit of a nicer shape.
It goes all the way to the contour.
It’s a little bit more descriptive. So again it’s always nice if we can show the difference between having a cast shadow
even a form shadow. So the cast shadow really again - switch pencils here they’re a little bit sharper.
Really quite sharp. And they help to describe that quality of the shadow and the form shadow has a little bit
of a thicker line to it usually and expresses the form. And if I have enough time I always
like to kind of work on
the line of the outline and the shadow before giving the shadow a value. It’s just -
as soon as you put the value for the shadow it’s a little bit easier to see things,
but it’s also super nice to get ready for putting in the shadow, like give yourself time
to think about what the outline is doing In terms of also shape and volume.
Whether it's kind of fading away into the background or if it's really contrasted and sticking out.
And then when you put it in the shadow value then everything starts to pull together a
lot better, I think. I'm just gonna draw a little shape that’s on the chair here.
The reason I'm doing that is because it's touching the leg so there will have
to be a value here to understand
what's going on there. So I'll just draw that value or that line there to represent the
value. Every time I kinda touch the outline I’m thinking about can I improve the shape, can I improve
the line? I'm gonna move over the shape of the hand just a little bit more.
So I'm doing that, I'm just copying my shape across, so I
don't even need Amy to be there to do that.
The reason for that is again to come and help me get this the more things
I have going out that way the less the shoulders are gonna go out so if I
can pull everything in a bit more,
I can hopefully achieve just a little bit more gesture.
Okay so when she comes back we’ll have to reattach the arm because I moved too much to know how far should I go.
Okay, so again I'm just looking for things I can clean up while I'm on break.
Okay, so another thing we can do to help us unify our drawing.
Is we can takes our kneaded eraser.
Okay, we put it on our drawing,
so we can make it into something like that.
I'm sure everyone's made something like that when they were younger in school and actually roll that over areas
of the drawing that we want to kind of unify the line.
So if I do that across the outline of the leg here you can see that kind of makes a
ghost image. So wherever we need to kind of push things back a little bit more we can always
kind of roll over very lightly the eraser.
So any of these kind of lines that are in the shadow that are too strong right
now, we can do that as well.
You know if outlines are getting like that.
And by doing thiss, you really don't move the lines at all,
but you just kind of knock it back,
we would say. Many times people actually take the eraser and go over the whole drawing and then it's
like having a ghost image underneath it that you can build upon again.
So in this next pose,
I want to go through it and maybe do that in some areas.
I can do it now actually while she's on break.
So when it’s ghosted out like that,
it’s a bit easier for me to go and really find the line with a sharper
pencil. So we'll have a little break and we’ll come back.
Again the idea of these shorter drawings is really just to capture the simplicity of
the pose, and it’s also an exercise and preparing us for longer projects.
So this is basically the foundation for our longer projects and I think practicing this as
much as possible is one of the best ideas.
Okay. So what we want to do now is we find outline, shadow line maybe in
2 minutes we’ll give a slightly - a very light value for the shadow itself and will
continue to refine the shapes that we’re drawing. So what I’m turn doing now
is I’m kind of lightning out the shadow line
ever so slightly on that side.
So when I put in a value everything will unify together a bit and then I can choose what
areas I want to be more contrasted.
I could also take my eraser
like I was just grabbing a second ago and just roll over the whole drawing as
well. But some areas I actually want to keep so I don't want to roll over the
whole thing. I think those areas are working well enough for the moment.
So in areas that I want to redefine the line a bit more, I will knock
them back little bit. I feel like this is a little bit too big so I need to shrink that,
So I’ll pull the calf muscle forward just a little bit more.
That’s a little bit too far forward. We can also bring this shape down a little bit more.
So that what I’m drawing there is actually the top of the shadow there, it’s not actually
the bottom of the leg.
Well that’s my intention? That’s not that top of the leg there. So come down again a little bit more
Okay standing outside of my heel spot
just you control how things look.
Okay so now that she has her hand here that actually has a nicer shape to it.
It's also a little simpler to get so I'm going to go for that one.
You can even group the fingers together as being kind of in a pair and then having the last little
bit higher to maybe make it more interesting shape out of that.
Again that’s completely up to the person drawing.
You know another good thing to do with these drawings is to not allow yourself to use any value and
just make everything look like it has a value inside of the shadow.
You draw the shape and the better your quality of line is,
it will appear to have a value inside without actually having any value at all. And
if that happens and you definitely know that you're on the right track in terms of
how you design your shapes and the attention you give to the outline.
Okay, so let’s quickly give a little bit of a value to the shadow and we can continuously play
on the outline and line the shadow.
So again I'll give it a very very very light value.
Okay so now that we have our value there, we can continuously go back and start playing with outline the
shadow again and the contour we want to better our shapes.
I'm going to sharpen my pencil, it’s always nice ar this time.
I'm blowing the pencil just because all the the sharpening
stuff from the pencil gets on there and then making a black dot
on the drawing at the first touch. So again here is an interesting place on the body where the hand have very little
contrast. So we can not erase line,
but just not be as strong as the other ones.
Okay, so the inside of her arm here is quite, has a lot of reflected light and is quite
soft so we really don't need to do so much to that line. The more we do to it,
the more it changes its, you know,
kind of soft appearance.
Okay, I would like to develop the shoulder a little bit more though because I
feel like this is a little bit lacking. So again here the edge gets a
little bit lighter and softer.
And same for the top- for the other side of the shoulders there.
We can see this is the pit of the neck, this shape we can develop this a bit more and cut it up.
In driving the nipple for free sample,
it's just about suggesting. It's not about
anything more. Again so all I’m doing here is
just moving around the shadow line.
Just thinking if I can make a better shape out of it, proportion wise, thinking about
where is it stopping, what plane
is it representing? You know if you're able to go back in anywhere and get a
bit more information along the edge of the shoulder there it was develope
this sensation of reality a bit more.
But again it's all within how much time
you have, also having a good idea of anatomy is also
very helpful. Just knowing how things should connect.
We can definitely do this all visually.
But having that extra little knowledge there is always a great thing when drawing the figure.
Okay, so that's all the time
we have in this pose with Amy.
I'm just going to clean up a couple lines here.
Okay, so with this drawing it is quite simple still, we didn't get into any information inside of
the legs, but hopefully it's
another way of kind of going about these small drawings, not worrying about the information
inside the shadows at the beginning, really just kind of going after the more of the light
impression I would say in general.
We also started to work up a little bit of the outlines
of the shadow and starting thinning down our contour lines. Okay
so we'll call that one done for now and thanks for watching.
time I'm going to have her doing a standing pose, a contrapposto pose, from the back.
So on this one we’ll welcome Amy up to the stand again.
We’ll go through the same procedure, same with blocking in the figure with straight lines,
first looking at the gesture then proportions,
and then the light shape or the shadow line. Okay,
so like always we’ll position ourselves about an arm's length away from our paper. Okay,
If I stand back she gets bigger on my paper.
So if you're standing in a position where she's only this big on a paper then
either move your easel back or stand further away until we get her to be around this.
Okay so I find this is a good distance from her.
Okay, and we’re gonna start again with the top and bottom.
So I’m marking the bottom of her
left leg. That's the way that has all the wight on
so I can also mark the bottom of the other foot as well.
Again these are just the height measurements.
Okay, and then I'm also going to mark the part that sticks out from her hips there.
Okay roughly around here. Okay,
I find also. that's helpful is
you start by saying this is where the foot would be on the ground, be inside
of the ankle there, just as a starting point.
Again, we can use our plumb line
to go up the body from that point and we can say that it goes right
between the shadow shape on her butt there.
Very very close to it.
And it goes out through the top of her head.
So if you want to on a paper we can also make those little notations.
Okay that if we see the center line here of the shadow on her but will
be off to the side and this would be the point of her head, the highest point
of her head. So as we know that we can already see okay the head will be somewhere
over here. When you take away the old
line there. We can see this is the inside of her standing leg on the heel there okay and we have
our relationship of - that can come over just a little bit more. So as we’re starting out here
we already have kind of inclination from
the inside leg to that point that we marked there.
Okay, and it's relatively straight up.
to the spine and it turns a little bit as it goes up through the back of her neck there.
So it’s also very possible when we’re drawing to work from the inside the body and work our way out to the
sides as well. Whatever is clearer to you and makes more sense is what I would recommend.
I find it very helpful to plot a few points,
you know, so if we say this is the shadow shape on her butt here,
lower back in shadow and we can see the spine actually peeking out over here and
kind of curving until it gets up to her neck.
So like always we're going to start out with larger lines. I’m just gonna guess here about how much of a
distance there is away from her hip there as I start so I can already just kind of
guess at that proportion through there to give me a starting point.
What I just did there was I took an angle from what will be the corner of her heel
until that furthest point out, so if I - close one eye,
I overlap the string close to the back of your body and then
move it across, it's another way to kind of help me find out how far away
her hip will be on that side.
We have a shadow line going across so I can even start with the shadow line,
putting that across and again start to kind of block in the shapes of her hips.
And again here, I'm not measuring at all.
Going for the outside of the body first.
That’s just a generalized line for the outside of leg there.
You can kind of adjust the inclination and the height of the shoulders.
I’m just gonna double-check that height in sight-size.
So I can come down just a little bit lower.
Okay. So what I'm doing now,
again is can just move around my proportions.
I usually put down again these lines to have an idea of the shape and then
I start to shrink or have it grow.
Okay, so I can use my plumb line in this situation to say where the
ending of her shoulders and the right side,
where does that pass for the foot?
And if I do that the foot comes just outside I believe. I can double check.
Just on the outside of that line.
So if you go straight down from here,
you put the back of the heel of the other foot in that position.
And then again we can try to give it the simple outline first.
If I put my pencil up against the edge of it
I can see it more or less how
I can simplify it into straighter lines.
And then it will have to break into two as it comes closer to the foot.
Okay so again here, let’s play with this big shape for a moment or two.
And let’s see if we can get any kind of any more gesture out of it.
I can put in information here for the armpits. Again instead of having a line that
represents just that points of the shoulders, I can go and start to make it a bit little closer
to what we're seeing. By giving those a slight
inclination. This in just a little bit more.
If we follow that line out it should end about here, so if we extend that longer.
Move that that in just a little bit more.
I'm going to put down just a few lines of the back of the head just
to try and connect to a little bit better with
the body. So I’m gonna break up the other leg on the other side just a little
bit more so I can see
a little bit better what's going on.
So it can even have more of an extreme tilt to it.
Just trying to clarify that point and we can actually erase that in further. This needs to come out a little bit more over here.
Okay, so I'm just trying to refine little the outline so I can start working on
the proportions. I just need to be clear about what this outline is, is it the shadow line, is it
the contour line? Okay,
So when we come back one thing I like to do is try to see if we can
connect the upper body with the lower body through here.
I think this is starting to make sense of how this is tilting and also the inclination
to the leg, but it's not convinced about this area through here.
So we'll take a look at that
when Amy is done with her break.
Okay, let's have a little break and come back.
Hi, so welcome back, we’re going to continue here with our pencil drawing of Amy. So what I’ve done
far as just established for myself larger shapes through the body,
okay. I started to think more about the gesture and how
she's standing on her legs
so we have the hips tilting in one direction, shoulders in an opposite direction,
but I want to see if I can get that to happen any better before I
jump into breaking down my outline anymore.
Again, just a fewer lines to move around.
You can always move the drawing around at any point,
but. Okay so I’m just going to move some of the lines around here, trying to better
Okay so I think this point can drop down just a little bit more.
So this point I can actually move a little bit higher, get rid of any of the lines that I don’t need.
So the top of the leg here you should probably keep is a straight line the entire time,
probably don't need to break that up so much.
Okay so whenever you have a foot in perspective like this it’s always a bit funny. Basically what we’re trying
to go after is a shape that looks like a wedge.
So we have the inside of the foot going one way, the outside of the foot going another
way. And then you want to try think that the foot is actually kinda doing
this as an abstract shape. And then we have the heel
And the leg going off of it.
Okay, so the higher up we make the toes the more we looking down on it.
So the more we lower the toes, the more it looks like it's
going back in perspective. Okay, so that’s basically what I’m thinking about as I’m drawing.
Okay so I can probably incline this angle ever so slightly more.
The more weight she puts in the leg, the more this angle I s gonna incline.
So I can raise the armpit up here a little bit higher.
I see that when they're just poking right before the contour.
Okay we can mark the bottom of the hair if we want to.
This can go down just a little bit on that side. The thing I can just kind ofsuggest for the bottom where the fingers
will be, I can even suggest just the basic shape of the hand.
But again I don't want to do too much because I'm sure there's not going to be in the same
position as they start to refine the drawing.
So in a way, it's just more leaving a note for myself to
remind myself that there is a hand there and then when I get around to the area again,
I'll go back and resolve it a bit more.
Okay, so I’m gonna spend a moment on the legs just kind of refining their shapes a little bit more.
Sometimes I do this with a figure, or almost always I should say, when you find an inclination somewhere it can be whatever it is, it could
be this longer inclination here,
it's always good to kind of follow it longer than where it goes and see where
it intersects. Most the time
it does intersect with another part of the body or gets closer to something.
So as I'm trying to resolve this leg,
which is not easy because it's a bit far away from the other one, so gauging this
distance between the feet is always a little bit challenging.
So if I don't more that's for the heel is, I can say what is this
connection here, but follow it is very close to the heel.
I can do the same thing on her and on her
it actually goes to the back of the heel.
That means I can move that line of it more in.
Okay and hopefully that will start to position my leg be better. Again,
no need to go crazy breaking up the lines here yet.
I’m just gonna slowly bring them in until I feel like the proportion is good enough.
Drawing out the shadow in front of the ankle bone will be quite helpful.
If you need to draw a little bit the shadow information here to help you place things,
not a bad move. So that line can be a bit more inclined.
Okay. So now I’m gonna get ready to put in my shadow shapes.
And as I do that I can continuously adjust my drawing, don’t worry too much
about that. Okay so again before I do that, I’m just cleaning up my
outline just a little bit more, I can also do this as I'm putting in the shadow.
Ok, gonna go over this part of the neck again just a little bit more. Okay,
so we’ll begin with our shadow shapes then, like always trying to get the larger part of the shape
done first, and then we can go back and redefine the smaller parts of them.
Again, looking through the shape to see if there's any kind of connection through them, I know
it's a bit unclear my drawing right now.
Let me make the scapulas a little bit bigger. Okay and the shapes will constantly be changing ever so slightly just because the
body moves as well. Okay,
so this one’s going to be over here a little bit more.
If I do that I can move that over as well.
So I’m basically trying to put down my shapes and then I'll go back again, like I said, reposition and refine.
Okay, so we’ll continue down through
the legs. Okay, so again just kind of cleaning up, refining some shapes here.
And at the same time we’re doing this, we can also kind of empty the shadow shape.
That means is if you have lines that are inside of the shadow that we don't
need, we can lighten them up or take them away.
So the shape becomes a bit more dominant.
And another thing we can do while she's on a break is to kind of unify the
value of our line so we don't have these light and dark spots going through it.
It's almost like doing preparatory work for the next session.
Kind of getting ready for a value
in the shadow. As long as you always go back and reinforce them.
Right or wrong just so they have a bit more of the same value lines.
So, you know, when you start working in our longer project,
this will also be quite important not to
have the values too broken up, it just makes it harder for the eye to read
what we’re doing. Okay I’m just trying to close off my shadow shapes here so when we come back
they will stand out to me a bit more and I'll just jump right into correcting those.
And again sometimes it’s actually nice to work when the model’s down just doing this kind of
stuff, it just kind of
allows you to be a bit more relaxed.
It's a bit stressful when the model’s standing there
sometimes. So again I don't wanna change the shapes,
I'm just trying to clean the edges up, make them more defined.
Make sure the lines are connected. Okay,
so let's have a little break and we’ll come back.
So again here. Just going in, kinda
sketching out where the larger shapes and shadow are, or the edge of the light.
And sometimes you can always exaggerate the angle if you want just to - I was doing it here to make
sure that I remember that this whole thing is going to connect at some point as well. If I do it
too straight up and down, which is possible,
It eventually probably needs to be more.
I might just forget about the little detail there so I’m gonna redo that little part there.
I want to give you enough height for the heel here.
Which goes up and then it cuts across.
And then up the leg.
It’s probably still a little bit too low.
Okay and the other thing I’m gonna ignored this light right here for second because I know it’s going to change a little
bit. So I’ll just go through and try to throw out the largest shape on the back of
her calf and down the front of her leg.
We’ll finish up with the arm. Okay and as we’re doing and the hand is there,
it's all about just choosing the moment of it.
And what that means is just if it becomes a more interesting shape, go for it. Right now
I don't care for her individual fingers, it’s more about the big block, like the mass
grouping of the fingers because I will occupy space and then once I start refining everything,
I can go back and start to kind of refining the entire shape together.
So again I’m not so worried about that.
Okay this shape’s getting a little bite too two big so I can bring that one in.
Amy can I have you tilt your head down just a little bit? Thanks.
Okay. So also in the head here
we have a small small shape of shadow just underneath the jaw.
Okay we also can sketch outwore we think the placement of the ear’s going to be with that shadow shape as well.
So I’m just gonna put down a shape and then I’ll move it around in a few
minutes here. Okay, I want to define over the shoulder line here, it looks a little bit too generic.
So I’ll break that into two lines. I think that shape was also just a little too dark.
It reads a bit funny. Okay. So now that I have everything down again,
I'm just going to go back to really quickly and double-check things.
Amy can I have you swing just a little bit to the left? So turn your body to the right.
Does that make sense? Maybe just a little bit more if possible. I just a little bit the shapes on your back.
That's great. Thanks. So I’m just gonna look at her in my mirror for a second here and try to think if
there's anything I can move around.
So I feel like like this can kind of sight out a little bit more through here.
I also think we can probably push out the hips again.
I’m just going to grab a sharper pencil.
Okay and I think also we can turn in the armpit.
Okay so now that I have all my shadows established,
I'll go through quickly and just refine some shapes and then we'll get into putting in a
value for them. Again, we can keep thinking about as refining then we can think about
shape, we can think also about the edge quality of each area. Again if we have a
lot of small details in the shadow right now,
we don't need to go into them,
but we want to try to incorporate, for example here there’s lots of little shapes inside, we really want the big piece of it first, once
we get that we can go back with more patience and develop the rest
of it. Again just constantly redefining shapes, again cleaning the outline of the shadow.
I'll try here to also get a value in to the shadows by the end of
the session. Again we can always keep this interior information.
We just want to make sure that's a little bit lighter than the actual shadow line. Okay,
so you again as we’re going through here, you can always think about what has more visual
contrast, the outline the figure or the shadow.
And we can try to imitate that in our drawing.
So if the outline of the body has more contrast on either side,
we keep it that way,
we keep the shadow as well,
but we try to make it not as dominant
as our outline. Okay, so we're going to have a little break here again.
And when we come back,
I will put in a shadow for the - value for the shadow.
And we'll keep it adjusting shapes.
So we’re back from our break now.
This will be again our last 20-minute pose with Amy in this position.
So I'm going to try to start by giving myself a value for the shadow and
I can spend the rest of time trying to work on the the gesture of the
drawing and also the line quality of the drawing. Okay. So one thing I noticed at the beginning is that this foot looks a bit funny.
It looks maybe a little bit too high
up compared to the foot so I’m going to double-check that and then we'll get on to
working on the value of the shadow. So I find the foot can come down just a fraction.
At least - on the other foot just a quick little thing,
I think I can make the heel a little wider on the side.
It feels like it's just a little bit compressed.
I know it's not that big of a change, but it does
affect things just a little bit. When we're drawing at a very small scale, the smallest
little movement of the line adds on a few pounds or takes off a few pounds from
the drawing so again these drawings are actually quite difficult to get it perfect
just for that reason. But again the better these drawing start - I can say that probably better.
That the drawings here the more you start to progress in these drawings, your other work
really takes off. In all my years of teaching I've seen people make a jump in
these smaller pencil drawings and then all the sudden their longer projects just take on new
life, it’s really really cool.
I think it's just because you got to practice the important parts of the drawing over and
over again until you really start understanding them.
Okay so just a couple of little corrections here as
we're going along. Okay, so I think I'm going to put in my shadow value just
because I know we don't have all the time in the world
here. So again, starting anywhere you want but it has to be continuous to the whole
figure. Just giving yourself a very light value.
Okay, if we want to we can also sketch out the cast shadows that’s on the floor here.
Just incorporate that into our shadow. That’ll help with defining the edge here when we get there.
It also kind of gives
You know more sensation of light across to figure. Okay, not necessary.
You don't have to do it.
Again, the important thing is the figure itself.
Okay. So now we’ve filled in all of our shadow shapes.
If she had darker hair,
I could also include the hair shape inside of the shadow,
which I can do just for an example.
But her hair is fairly light so it doesn't really need to be - it could be left out.
So now I’m gonna pick up my mirror and then I’m gonna look at her upside down in
the mirror and just try to see if there's anything else with the gesture that I
can move around. Amy could I ask you to move your arm a little bit higher up, like above you elbow? Perfect.
Thank you. Okay, so this part of the body can go down just a little bit lower.
Okay and I think you can also take the little ending of the scapula and move that down also.
Again just working a little bit of the value of the edge here.
So that comes over the hip, we have to connect the lines so it’s continuous but it doesn’t
have to be such a heavy line, the line has a bit more contrast as it gets
down towards the knee. Okay so we can see the spine a little bit through here.
We have the shadow kind of crawling over it.
And then being cast against the other side
of muscle on that side. Okay and I can thin down this shape and also lower its height a
little bit. Okay, so I can see this keeps growing and shrinking depending on
how the pose evolves. So again if it's moving around, you either choose a moment or you
wait for it to come back to what you had before.
Okay so at first glance I thought the shape was going across here,
but it actually kind of dips down.
And over that way and then it gets caught up by the cast shadow.
So through here I could even just leave this little value
here as a half-tone. And just darken down the shadow line in there.
And it’s really nice if you can start characterizing these shapes as much as possible.
The character of them is really what gives them, you know, interest.
And also a bit of life to them as well.
So again the top of this shape I’m going to lighten to kind of merger it with a value
of the shadow. And then I can be a little bit more specific about how
it works. That was an old line from a decision I made earlier but I think I’ll just get
rid of that. And that line’s just a little too flat and sharp to there. So here we can keep seeing
the shape hasn't gone back to the original or that other
size so you could even go through there and just
again, put an edger on that.
We can lose the other side of it.
So again looking at her standing on the outline, the line
gets a little bit lighter as it goes up and gets a little darker as it
comes down. So here we can just adjust the top part of it.
We keep the bottom part strong as we have it.
Just trying to keep the shadow flat.
Okay and if there's no contrast in the edge of the shadow, again
just use the value of the shadow to create that illusion of a shadow line. Okay,
so that's all the time we have for this one.
I’ll spend one more second just cleaning up a little bit before we stop.
All I’m doing again not changing shapes just kind of unifying this outline of the shadow
that I put down there just to make everything unify a bit more and to read a bit
clearer. Okay. So with this one we were able to get a little bit
more of the shapes down and have a little more time to play with the way
we can manipulate the shapes to give us,
you know, an effective light and to also
begin the idea of there being some form and a difference between what we consider to
be a softer form shadow versus a more cut out cast shadow. And these differences the better that you
can explain them in a simple way,
the more it really helps when you start going on
to develop those areas. If you can already get a sensation of it from just the
way you treat a shape, the way you draw it and the edge quality that you give it,
you know you're already going in the right direction.
Okay just one more second here. Just clean up the bottom of the feet. Okay.
So I think we’ll call that one done for now.
Okay so that’s it, thanks.
Transcription not available.
Okay. So the first thing we’re gonna focus on is within the, let's just call it
this zone so shoulders lower back area. Okay.
And try to get those shapes to be closed by - the shadow shape
I should say to be closed and I will start going forward with redefining everything together
and applying a value to the shadow. Okay,
so I made the waste here a little bit too big.
So I’m gonna start to shrink that down a little bit. Maybe bring this side as well just
a little bit more than what I have.
Okay so I want to go here and close off the shadow shapes
so I can get ready to put in the value.
Another part of the game is also thinking about what’s actually important at this moment in
the drawing. Everything is always important,
but there's a lot of information to
kind of go through. And you're going to be the boss about what is needed at
what time. If this was to be a fully rendered drawing than you know,
it still doesn't mean that everything you see there is going to be applied to the final
drawing. We're working, especially when working with
pencil or charcoal we have quite a big limitation to devise in the information we’re allowed to - or not allowed to
but able to put in.
So try to do - for the face here
I’m just trying to suggest just kind of
back side profile thing, you know to call it last.
But also drawing out the hair shape
will give us a bit of information as well inside of the shadow mask for face.
Okay I don’t want to be super dark again.
It shouldn't overtake the contrast of
the actual shadow line on the outside.
Again when we squint our eyes
there's almost no contrast with the outline
and the background through the hair.
So we try to represent that
in our drawing as well.
You maybe have a very dark line
maybe going against what we're seeing nature and it’d look just a bit funny.
Okay, so, let's see if we can
put in the value here. Change my mind about that shape that I put there earlier.
Okay let’s try to get the other arm going here.
Okay so I think I need to load in the arm again. And then I can sketch out the shape of light that goes through here.
Okay, and again we have some light kind of going on the back leg.
But I think I’m gonna actually leave it out for now
and if I decide to put it in a little bit later,
I will. Giving a little bit more space to the feet here.
Put a little bit of a clearer shape of the heel there so I’ll take advantage of that.
Okay, so it's going in the value for the shadow, I’m gonna start working with that,
which is always my intention but then I always find something else
to sidetrack me from doing that.
Okay, so let’s do that, let’s take a sharp pencil and put it in our tone.
Or our value. And I'm going over the line on purpose
just because I don't want to stop short of it
so I'd rather go over the outline too far and I use my eraser to the
back and clean that up.
Okay the other side the same thing.
Okay lastly down the center of the back. And also you have the whole overall head shape.
The value as well. Just because the contrast would be nice to have around the neck.
Okay. So now we have a value down for a shadow.
We can quickly just go around the outline and clean that up.
Okay, so Johnny is going to give us one more session here
after our break. Before that happens I’m just gonna run around the drawing and kind of prepare it
for the last session. Keeping my lines as thin as possible on
the outside. Okay, so let's take a little break here and we'll come back.
Hi so welcome back. This will be our last 20 minutes with Johnny here.
So just before taking the break I put it in my shadow value
throughout the whole figure. So now I’m going to go back and try to adjust
again shapes, the outline. I'm going to quickly try to make this little more uniform.
And as I’m doing that
I see that I first went off to side too much, it needs to go a bit straighter
back in space so I’m just going to lightly
lighten that line there. I think I can just reposition. Again just checking angles by comparing it with my pencil
on the side there. Okay we can kind of turn the foot on the paper here.
On the other side of foot we have vein going to out to a point.
It should go down a little bit more and then we had the line of the foot on the
floor there. If you just simplify that you could almost have simplify it into a straight
line at the beginning. But as we start to go and develop the outline of the figure it needs to
be broken. Otherwise, it just looks like an awkward shape
that was not very well observed.
Okay. So if we just back up to the shoulders very quickly to try to refine the outline there,
I'm going to lighten up the line that I have right now so I can correct
it a bit easier. So I don’t have to fight the kind of fuzzy lines that are underneath it. As
we go up in the neck,
we have an ankle going not so straight like that,
but it's slightly inclined.
And then show it back down the way we had before.
Okay, so maybe this looks just a little bit too big through here so I can
shrink that a little bit.
Okay the other side I feel like this meeting point is a little too low, it needs to be
a little bit higher. So it's basically raising that the outline of the shoulder there up
a little higher. We can keep it quite straight.
And then we can have the contour come over-the-shoulder and behind it
and I have the other shape go in front of it and behind it.
So quickly I can run through the the edges of the shadow shape.
And as I do that I can correct the design of, the shape of it, and also the contrast. So how light
or dark the edges are.
The strongest cash shadow I think it's just across there
and down through the back here.
So again as I’m working on the edge quality of it, I’m
Also thinking if I should reposition any shapes at the same time for missing any
information. Are the shapes connecting the correct way across?
At the same time during that I also want to look at the contour as well
and see if the contour has the right amount of contrast
and the right shape. So if I look towards the contour of the drawing, I find it
just doesn't have so much contrast when I squint my eyes.
I’m also gonna move that outline a little bit closer to the elbow. Put just a little more contrast to the shoulder
here, a thin but dark line.
We can get lighter as it overlaps.
Okay we can go down standing leg now, adjusting some contour shapes at the same time.
Okay the whole outline of the face here can get a little bit dimmer.
So I can just roll all of that to push that behind a bit more. So just going down the leg again,
adjusting shapes and shadow, trying to see if I need to adjust anything in the contour as I’m
doing that. Then can go over the calf muscle one more time here a little more.
Okay the shape on the elbow is going out with me, I’ll just leave that one alone.
Yeah not so much happening, it’s new information.
Just moving the shapes. Adjusting things, you start to work on one area
Maybe it doesn’t lock together with the other one as well
or maybe there's a better
angle to the shadow that represents the form better. So again in areas like this
it just it takes a lot of time to go back and forth to there and in
trying to develop the shape of shadows that’s, you know, best fitting for the area.
Right now I ended it just the armpit.
Maybe now then we can come forward a bit more.
Okay, so that's all the time
we have for drawing for today. Thanks Johnny.
So before I call it a day here,
I'm just thinking myself one more pass through the drawing. Just to kind of clean up and finalize any
thoughts. This area in the drawing
here looks a little bit messy.
So I go back in unify it a little bit more it might read better.
Okay, so I think I’m gonna I'll leave it something like this
and say thank you for watching.
Watch the whole lesson with a subscription
33m 58s1. Short Poses Figure Project Overview
29m 22s2. Defining the Contour of the Figure
39m 37s3. Refining the Shadow Shapes and the Figure Outline
41m 25s4. Sitting Pose: Blocking the Figure with Straight Lines, Developing Body Gesture, and a Shadow Line
31m 24s5. Sitting Pose: Refining the Shadow Line and the Outline
33m 33s6. Standing Contrapposto Pose: Blocking the Figure with Straight Lines, Defining Gesture, Proportions, and a Shadow Line
33m 38s7. Standing Contrapposto Pose: Working on Shadow Shapes
43m 1s8. Standing Pose: Working on a Line Quality
34m 36s9. Standing Pose: Closing the Shadow Shapes and Applying Values for the Shadows