- 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.
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They will be shorter two hour poses with the live model. We’ll be working in a slightly
smaller scale than a full value charcoal drawing, roughly a little bit less than a footlong, okay. And the figure will be roughly about this high. We wanna try to fill the paper as
much a we can with the figure.
So the materials we will be using today will be an off white piece of paper.
We can also use white paper.
I find that the off white paper just a little bit nicer to work with, this
is cansom paper, I believe.
And we'll be using mostly
a B pencil or HB pencil.
We’ll have a kneaded eraser,
a little piece of sandpaper to sharpen, and of course our plumb line and our mirror. Okay
so we can welcome Johnny up onto the stand.
And as Johnny is is getting to pose here,
just some of the ideas are we going to get across with this drawing will be
these are shorter poses again of roughly two hours long. Really what we were concerned
with here is just the proportion, the gesture of the figure, and a good explanation
of the outline of figure and of the shadow shape.
Okay. So we’ve place Johnny here in a contrapposto pose.
So he has the weight on one leg.
The nice thing about this is that it gives us a little bit of opposing inclinations
so his hips is facing one way, his shoulders the other way.
And it gives us a nice rhythm to through the way he stands. We’ve also giving him a chair
to brace himself on so he's a bit more stable.
It just makes it so the pose doesn’t sway so much as we're working.
Okay, so to get started here I'll be working in sight-size.
So when we're working on our smaller drawings,
we usually stand about an arm’s length away from our our board, or our paper. If
we close one eye we can use a plumb line as well
To help is see how to figure fits on the paper.
S from where I'm standing I can simply hold the plumb line out and
I can see his feet are roughly here on the paper.
And the top of his head also fits in the paper.
So then I know that my paper’s in the right height for the model.
Okay, again, I tend to use the mirror a lot more than the plumb
line to do sight-size size. They both work exactly the same way so you can use whatever
you feel comfortable with. Or I can simply hold my pencil over my paper
and with one eye closed I can see where the top of his head is and
top of my pencil and try to get them on the same line.
And make a mark. So I’ll do one for the head and I'll do one for the
feet. And when I’m marking the feet I’m marking the bottom of his toes so the maximum height that
we have for the figure. Now before going on I can just double check my height with
my plumb line or with my mirror.
Okay, I can make any adjustments if I need to. I found the lines that I
first put down are in a good place.
So the next one I will take will be up from the hip and the shoulder.
So again, I try to line up the marks that I made already with the top
of the head and the bottom of the feet.
And then I go for just above where the pubic hair is, if you go all the way
up to the hip that's the point that’s sticking most out from the body.
So that’s the area that I want to try to get now.
And I guess I just make a little annotation of that.
And again the last one
I will make will be for the shoulders.
And again, whenever I put down a line,
I always want to double-check its position, the height of it.
If anything is moving, you move it.
Okay. So now with my plumb line I just wanna check my vertical relationships.
So again, he's standing out, putting his weight on his right leg.
So if I start my plumb line from the inside of his heel, so we can
say this will become the inside of his heel.
So what I'm doing now is thinking about where is his bellybutton, the pit of the neck,
and his head in relationship to this vertical line.
So if I put this vertical line on my paper,
I can see that his belly button is a little bit off to one side.
Other line the same at the pit of the neck and then his head is just a little bit over
the line. Now these little marks that I put down now are just I guess it's okay, estimating
how far away they are from the central line that goes through the body.
You are very welcome to place these anatomical points first or what I usually prefer
to do is to put down some information first and then correct it after that.
So as I'm looking at the model now,
the first thing I want to do is try to get an idea of his
gesture. Okay so since he’s standing on one leg,
we're going to have a movement going out to our left as we see it and
then going back up to his armpits,
and then the head is looking out this way.
So we’ll have kind of this movement going down the body.
Okay, so I’m just going to work out where the bottom of his foot is displaying the
weight on. Okay. Now I'm going to relax just for one moment and not measure yet
and just try to put down some long lines to explain the outside the body.
I find that by closing one eye I can actually trace the inclination on the figure
to get an idea of where that - how I can make, for example his standing
leg into a straight line at the beginning.
Okay so as I’m going through the drawing,
I'm going to start going from side to side instead of going up one side
of figure and then down the other side of the figure.
I find if I jump from side-to-side it forces me to look at the big picture
of the the pose. Okay I can draw an inclination for the top of the shoulders.
So this is the height of the top of the chair here.
Bottom of the fingers will be there. So again these first lines that I am putting down are kind of - are very
rough. But I feel that it's always nice to have something here and then we can
start going back through and adjusting and correcting.
Again just noting where the bottom of the fingers are.
Now we have a kind of a rough shape of his body,
I can go start to measure the the widths.
Now when we measure widths through the body,
it's good to take fewer measurements.
The smaller the measurement is - so if we were to go to measure the width of his
ankle here, is not actually that accurate. The measuring is much more helpful through larger areas.
So measuring between the armpits, the width of the hips or the width of the outside of both
legs. Those would be helpful measurements
that would be more useful.
So again I’m gonna take the plumb line up for one second before we do that and I also
want to try and place some of the inside information so the belly button or the
pit of the neck in relationship to the way he's standing on that one foot.
So again I put the pencil or I’m sorry the plumb line over my drawing.
Okay, I can probably move this in just a lil bit more.
Again, I'm just remembering because sight-size is a one-to-one comparison,
or one to one scale rather, I can remember the distance from when I hold the line over him
to when I put it on my paper and I can get it somewhere close.
Okay, so this will be his put of the neck.
This would be the height of his bellybutton there.
So first let’s take a measurement of the hip area. So to do this,
first we need to make sure that we’re inside sight-size well.
So I adjust myself until his feet and his head line up.
I can measure using my pencil, so I can use the end of the
tip of the pencil and I put my finger wherever I want the with to be.
So I can close one eye,
I can go from one side of his hip to the other.
And as you move across I can see that it is coming just a little bit
more than what I have it.
So again, I always want to do this twice.
If I do it once my finger can slip as I moving my arm.
So just for reassurance I do it one more time.
Okay, so it’s pretty good.
We can say that. So now that I found - again going straight across from here - to
be the width of his hips, these lines
I can also move in the same amount,
which will also make his torso more appropriate in its size.
So I'm going to continue with the these inclinations that I placed here and just move
them in. You can erase the old lines.
Okay, and now I can say that the width between his hips is an okay width.
From here I’ve simplified this angle into his armpit so I can see the placement of
his armpit through here and this inclination is generalize as well so his armpit will be just
inside of that line. So I can go and mark the armpits now.
And I can also now draw the inside of the arm with a straight angle and
as I do that, I see how much more I can bring in the other arm.
Just correcting the height of the fingers. Okay
and the old lines again, you can take away to keep the drawing clean.
So I found that I can move the head over a little bit
compared to where I placed the armpit it can come back just a little bit more.
And the back of the head can go over a little bit more.
So I can start to get the outline of the body is a bit more similar to his,
so I can - instead of having a line here that represents the top of the shoulders,
I can actually put in these other inclinations to make the shape of a bit more
similar. So again here I'm still working with outline.
I haven't gone inside to shadow lining yet.
So I wanna get the body - the outline of the body - in control,
and then I'll move inside and work on the shadow shapes.
So here I’m just marking out information for the hips again,
trying to go side to side. Okay,
Johnny’s gonna have a break here.
At the moment I can't do much more when he's not posing.
Now, a little later we can so for now
the thing I can do is just go through the drawing and clean up the lines
that I made before. So when he comes back I can see a little bit clearer.
So I like to start the drawing with maybe not the sharpest pencil in the world.
Just because when I do that the lines become very thin and when they're very thin
they don't feel so flexible.
So by using a pencil that is not too sharp,
when I'm making lines on the paper,
I can move my hand back and forth to make something just a little bit thicker
than what it should be and then I can use my eraser to go through it
and erase and whittle down
the width and make it the way that I like to have it.
So let's have a little break here
and we’ll continue after. Okay, so back from break now.
So I’m going to continue with the the block in here.
Okay, so as we’re going along here.
I always suggest just to keep things flexible.
So simple and flexible, I should say. So we’re simplifying the figure right now.
So when I put a line through here,
I'm going after just the general angle that I see,
which can be a little bit
closer to the inside here. Okay so I was going to find the height of the knees.
So I can find that with the mirror or with my plumb line and the top
of the knee is here where that shadow begins on his knee.
And the center of the knee will be on the other side, about that high.
I always just double check again with the inclination through here. Okay that looks good.
Okay so now as I'm going through again, going on the counter.
So the first time that I go through contour breaking it down,
I just go side-to-side. I don't have to connect my lines.
What I'm looking for is just kinda like curving the leg on the inside.
And again, you might see these a different way to kind of
break up the figure. And I do and that's completely fine. When I say break up the
choices of where you begin and stop these first lines that we put down.
Just trying to position the other foot close to - close together as I can. Okay,
so I guess I'm just trying to go after
the bigger shapes, the big outline of the figure. Again,
nothing has to be perfect yet.
It's really just kind of placing down
information, the trick is really just putting down just as little as you
can get away with. Again another reason for that is the more we put down,
the more we have to constantly move around and sometimes it’s just too much to move around.
Okay I spotted this is too low it’s gotta come up a bit higher. And if I move it on one side
I want to double-check what's happening
on the other side. And another use of the plumb line here is I can put
it over, for example, the edge of where I have the armpit placed in my figure
drawing here and see how that relates to the live model.
When I do that, I find that I can remove the armpit in just a
little bit more through here.
Just a little bit higher up. I can use the pencil as well as a way to help me control my
inclinations. That still looks pretty good.
Okay, so I find that actually this shoulder can come quite a bit higher.
Okay and also put down where I see the chin to be, the height.
Also you probably have noticed that I haven't actually moved or adjusted the arms at all.
And the reason I haven't done that yet is because I want to get the
way he's standing through his torso and legs
to be in a good spot and then I can adjust the arms to fit that.
And I find that to be a little bit easier.
So I’m not constantly moving everything around too much.
So I can put a little bit of an indication of where the pit of the neck will be.
Okay then his neck can come in jus ta little bit more.
Okay so I’m gonna pass the legs one more time and just kind of address those.
Just a little bit. Okay so one more thing that I’m noticing through here is that when we have
this kind of contrapposto pose what we’re really searching for is one thing called compression and
another called extension. So when a contraposto pose, a nice thing about it is
that one side of the body is very compressed in the torso
and force the other side of the body to get more kind of elongated
as it was in the body.
So again on a model - in a moment need to go back through and really try
to see how much more compressed and how much more relaxed we can make the figure.
But I first want to go through the legs one more time and try to make the shapes a
little bit closer. Okay so you're suggesting the angle of the toes here a little bit.
And I need to make the distance from this ankle here a little bit thinner. So again, since I'm using long lines that are straight,
it's basically just shoving them around until they start going
into place ta bit better.
Okay so again I'm just kind of cleaning up lines while our model takes a break. Okay. So when we come back from our break
I will continue working on this area of the leg for one more moment.
Pass through the entire drawing one more time, adjusting the arms, and then move on to working with the shadow shape.
So we’ll take a break and come back.
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.
wrapping up the shadow shape. In other words just connecting everything together.
And just constantly moving around.
Okay. So the first thing I'll do is finish up where I left off on the
calf muscle down to lower leg. Now as I’m going through, I also want to try to
work on the difference between an outline and a shadow line is. So when I do
that, I'm really trying to have thin out lines and then a descriptive line for the
shadow. So as I'm making corrections now,
I'll be also focusing on that at the same time.
So basically what I do is take the eraser,
I can even sharpen it to a little shape as you see it
and it becomes more of a drawing tool we can really thin down lines, they don’t have to be perfect
yet because when we start going in with the background the lines will disappear.
So the reason for doing this is just to really give us less error in the
drawing, room for error I should say.
So one thing I keep noticing is that depending on how Amy stands there's a little bit of light sometimes and
sometimes not. So again, that is when you bring out your artistic license and you decide
on what makes better the image,
whether it’s to keep the light between the legs or to let it go together into
one bigger shape and there's really nothing wrong with either of those choices.
All that really means is that one is not in position
then you work on a different area
of the drawing and come back to it when it's the same as you had it
before. So now as I’m going through again,
I can start to overlap my outlines a little bit.
Again these straight lines that we use the beginning are very generalized and what they're very
good for is to give you some kind of relationship.
So as we saw before with the back of the knee, if we have a straight
line here for a long time these two lines we can say and eventually all we're
going to do is start to join them or make them - break them down we can
say into the shapes, but they're not going away from that straight angle so much.
It's very easy to get caught up
in lots of little bumps that right now
are not that important to you.
So don't let that bother you as you're working.
So I think what I'll do with that situation of light between the legs is I’ll
put a little indicator of where I think the front of the knee is which will lineup
somewhere with this edge of the shadow.
I can also draw the front of the shin from that same point.
And now that I'm noticing there's actually a shadow that comes with the knee
here should connect with the bottom of the knee,
which will give you some kind of relationship that you can build upon.
And I’ll reposition does the shins again in line, the shin line.
And then I'll go after the shape of light that’s between her legs.
Because that shape will change,
I'm just going to leave it quite simple for now
and come back to when I'm really ready to lock in the drawing.
Little correction with the knee. I just noticed now that the shadow line of the shin
needs to move to the right a little bit, it needs to come
behind this line here. As you go out this line drops behind.
So I'm going to move that ever so slightly.
Okay again with the knee.
We can see the shadow kind of indicating or looking in towards the back of the knee here as we
come down ever so slightly and the shape ends a little bit more like this.
So you might see me a lot looking at my mirror sideways like this.
What it really does is it puts again the the drawing and the model in the
same view and I can just run my eyes across.
So I can see that the top of the head lining up,
I can see if there's any proportions going across through here and there.
Any inclinations, the big abstract shape,
and again always trying to better the gesture. I think I can probably swing
her lower back in a little bit more towards the right to
help if you like the front of the body pushing out a little bit more without
moving the front of the body.
Also making her a little bit more narrow through the waist which I still feel that she's
a little bit wide through there.
So going through the hips again, trying just to mark out at anything that draws my attention if I can keep
this line simple still, maybe need to lower this point down
a little bit. Another thing we can do as well is looking at the outline on
the shadow side against the background.
As we’re working on the edges of the figure, we can get an impression of how
little contrast there is between the shadow edge of the figure in the background by making
that line lighter in relationship to the other side of the body.
So an example of that would be something like keeping in general this whole outside edge
of the figure just a little bit lighter than the rest of the lines of your
drawing on the figure. So what this really does
is it starts to push that line that I was just erasing away from us
more or less back into the background and it allows the other part, the other line,
to come out a bit more.
This will be more evident once we develop more the shadow line.
And as we start to darken it down a little bit more.
So I can even do this with my shadow line that for example in the hips we have this area through here.
We look at this line through here,
it starts to get a little lighter in the center.
However, it still needs to connect as one larger shape.
So a way we can balance both of those is by lighting up the line between
them just ever-so-slightly. Sp it reads just a little more like how it would in nature.
Okay, what I’m looking at now is again in the thigh or the ending point of this
little shape goes. I'm trying to understand what it connects with.
So sometimes if I come closer I can see that it comes down some around here.
And also has an ending inclination more inclined than what I had before.
So when we’re working with outlines as well,
sometimes it's actually quite helpful
if we put something that’s vertical against the outline where it has a curved. So if we
put something - I don’t know if it's going to work out -
let’s do it up on the paper.
If we put something vertical that goes along the edge of the figure here,
which could be a plumb line,
we can get an idea of where the furthest point out is on this mass here.
And we also relate that point to the other side.
So right now I'm thinking about that while holding my charcoal in front of me and
closing one eye is where is that point in the for, that’s very critical for me right
now. And when I find it, I try to relate to the other side of the
body which I find my can go up just a little bit more.
I find at this point needs to be just a little bit higher
then where this shadow shape exists. Maybe about here.
So I try to raise it up to that.
And also just change the angle ever-so-slightly.
So I think that's it for today, tomorrow
we will continue working on the drawing,
focusing on where we left off, finishing up working on closing off shadow shapes, outlines, and
hopefully working with some value. So I’ll see you then.
Welcome back. This will be our second day on our full value figure project. Today we’ll
be working more on continuing the outline of the figure
on both sides, trying to develop the shadow line in all areas of the figure,
and hopefully introducing value into the drawing.
So we’ll welcome Amy back onto the stand and get started.
So starting at the second day, it’s always nice to take advantage of the fresh eyes
that you have and try to correct any
proportions or inclinations that you see right away. Yesterday,
I forgot to mention something important which is talking about proportions. When we're driving a model,
we're really concerned with their body type.
So when you're beginning a drawing today,
you can think about what is the body type of that person, are they very tall
and slender, are they shorter, do they have very long legs or short legs. These characteristics
really help you when you're working alone to correct your drawing just by looking at it.
So again, the first thing I'll do today is just to check my sight-size measurements.
The vertical measurements. So where the top of her head or feet, possibly her shoulders,
somewhere in the hips, the knees and
just making sure that those are all in a good position before I begin moving
things around. Okay, so I think I’m gonna lower her armpit just a little bit.
What I'm looking at is an inclination from this part of her scapula to her
armpit and what kind of inclination I get across here and I find it that can
drop down just a little bit.
Just to clarify the ending of the shape as well.
Just give it a little bit of a stronger edge with the charcoal.
I also noticed that I can move down her - both of her elbows.
Remember yesterday saying that they work together in a unit. I can lower them down
ever so slightly. The elbow that’s on the prop shouldn't move up and down so much.
On the other side it’s a bit more free to change.
Top of the head as well.
Go up a little higher.
Raise the shade up just a little higher.
I feel like the shape of her hips are getting just a little bit too long.
Or too tall I should say. As soon as I put in a value for the shadow,
it’ll be a bit more obvious what things need to move around.
But I try always to exhaust my eyes
at this level. Hopefully I'm trying to get everything
into its place before putting in a value.
With more experience I think you can jump into value sooner but when you're first getting
the hang of a new
way of working, it’s always good to do it step-by-step once and eventually you can start merging of steps
together. It’ll be abit more fluid.
I feel like this can come forward a little bit more. It’s also another hopeful area to track your
model. The models are alive and moving.
So if we keep an eye on the distance there for example,
either make the spine to the outline of the body, as it grows and shrinks
we know that the model is turning ever-so-slightly and if it's a dramatic change,
we can always ask them to correct and to move. And
if it's not you can just let them be. So the other thing that’s happening is this little shadow shape underneath
her butt here is where this ends is actually drawing the back of the leg.
So instead of drawing a line through here,
I know that where this ends it will be representing where the back of the leg is. So
I can either draw the line to connect him
or I can leave the line out.
The impression that I get when I squint my eyes is that there's no line dividing her legs.
So visually it makes more sense to leave that out.
And then it puts more pressure on where that point of the shape ends to describe the
other leg. I'm going to grab my plumb line really quickly and just double check
how she’s stand in my drawing.
Okay, I think I can move this line over a little bit more. This should line up with her heel. So I'm still asking
myself, how can I make her a little bit thinner through her waist.?
I think she's still just a little too wide in her waist and hips. The reason the
plumb line helps me just to confirm what part of the body should move around.
If I do that, I'll be able to move forward this leg ever so slightly,
moving the shape that ends the leg as well.
Okay and do where the old lines.
We can extend that shadow shape over just a little bit more here.
And I’ll move in the top of the knee here or the upper leg.
Maybe moving it back is better way to say it.
Okay, so I'm just going to jump around the figure now and wherever I feel is
important to attack or adjust is what I'll do. Every time I draw on a shape
or adjust the shape, I'm trying to just better its shape design is what we call
it. So what that means is just the way that you're choosing to expand the
information. Right now my shape designs are very simple, just straight lines.
So what I want to do is get more of the character of them.
I'll try to give you an example that now.
So what that could mean,
it's just going through and starting to break down the - that one’s a bit hard.
Go away from having such a simple
straight line, start to give the impression of lines turning or a curved line
using straight lines. Just taking a look at the contour of her standing leg around the
hips and again try to make that any thinner if I can. I’m gonna bring the
front of her thigh back a little bit too.
It's like this area is the part that's going to just a little bit too wide.
It’s get a little too far away from the shadow line,
which the shadow line for me has a decent proportion with light shape but with
the shadow it looks a little bit too wide so
I’m gonna slowly take this back.
Reminding myself that the more I take this back, the more the gesture is going to straighten up
a little bit. So I don’t want to do that too much.
Again just moving the shadow shapes around the legs. That looks a little bit too thin we maybe went too
much, too far. Okay, so we’re have a five-minute break and get back to you.
Okay, so we're back. We're going to continue again working on the outline,
try to get the proportions a bit closer,
and trying to develop the outline and a shadow line together.
Okay so I’m gonna lower down the shadow line
Beneath her elbow. Not of her elbow but of her hips, sorry. Through here.
I found that these connect a bit more
when - in my viewing position.
Straighten up this line here too, Incline it thus, dropping the point here down.
And moving it back ever so slightly.
I find it helpful as well a lot of times when we're drawing we're fixed in a
position. And if you have information like just looking at her spine and her lower
back, trying to understand what's happening in that area,
sometime it’s actually good to move out of your position and move around and see how it
looks from a different position.
Keep your eyes on it.
And you can move back to your viewing spot and see where that point you're focusing on
how it moves or if it disappears
or if you can see it better.
So it’s always a good idea to also move around.
But make all your decisions from your viewing spot.
So I’m gonna move this backline in a bit more. Okay so I’m gonna push the shadow line forward, it’s on the thigh area.
That will shorten this distance as well.
I can move the shadow shape of her elbow back a little bit if they could be better placed over here.
And I’ll move the other part of the arm over with it.
And then after the outline as well.
I don't want to make the outline as dark as the other line but I want
to keep it there just so I remember that it exists.
Again incline this line away from the simple straight line.
It's a little bit too low.
You can take that away. I’m gonna push her thighs back a little bit more as well as her hip. Add a couple angles here.
Okay, I feel like I can bring this inclination of standing leg, I think it could
be more inclined in that direction.
So again, I'm going to keep moving over this little shape that represents the back of
the leg and then just kind of reconnect it with the back of the thigh here.
And it might take a few attempts at moving it around,
but hopefully we get it in a better place.
Okay and as I’m doing that
I realized that then I can actually push this shadow line forward more,
which would bring it closer
to the outline of the figure,
which is what I would like to do.
I’m also moving this line a little forward, otherwise
it's going to get a little bit too narrow
on the back of her leg for the light shape.
So as you push things around just make sure that as you push one that
there's enough room for the other shape as well.
So I'm making the right shape on her thigh
here a little bit smaller.
I think it looks a bit nicer
in this position so. Okay,
so once I feel comfortable with the placement of my shapes, the way she standing,
when I'm in control of everything, I feel that -
I mean nothing is perfect yet.
But if you're in control you know where things are going then you can
push forward a little bit more with the drawing.
Enter values but I’m gonna give myself just a couple more minutes here just to go around the whole drawing
making sure the all my lines are connected.
Okay just working on again
moving, refining shadow shapes. What I'm doing is really just keeping my eye on the shape
of light that's created on the figure.
I'm not worrying about the outlines on both sides of it. I’m just concerned with what is
the shape of light to her arm for example,
and I try to get the character of that as best as
I can. The better the character, the better the likeness. And then it looks more like her arm. So again, Amy’s gonna
take a little break.
I'm just going to clean up a couple lines here and then I'll take a break
as well. And hopefully in this next pose or the one after we can get into
working with some values. So I'll take a quick break and be back.
We’re gonna start off with doing a seed pose and again just working on the basics of pencil drawing, learning how to block in the
figure with straight lines, and how to develop the body type, gesture, and the shadow line.
So I've already set up my paper here on the board.
So whenever Amy's ready we’ll have her get up there and take the pose.
I chose this today to do a seated pose. Most of time you do standing poses
because they're a little bit more stable.
But I think it's also important to have a little bit of variation.
It also helps to give our models a little bit of a break.
So I'll be starting off today with a B pencil, we can also use an
HB for this as well. I just want to use a slightly softer pencil so I can
erase a bit easier and I don’t have to put so much pressure on the paper to see my lights.
So again, when we're working in sight-size doing these smaller drawings, it’s not very important to
to tape your feet on the floor where you’re standing. We can just hold out her arm
and always works from an arm’s length from my drawing.
This will keep us in our sight-size position and also a good working distance away
from our paper. We don’t want to be drawing too closely the whole time or too
far away. Okay, so I'm going to start the drawing like we normally do in sight-size.
So I'm going to take the measurements from the top of the head and the feet.
Other than taking her head and feet,
I want to take some of where she's sitting in the chair.
Okay, another benefit of this is that the chair doesn't move, actually relax into the pose more
And more. Here head can also go up and down.
But the chair in theory shouldn't so by having this marked I can always go from
the feet to where she's sitting on the chair and I can move myself into those
two places, lock in in sight-size and then I can always see how much the upper body
has moved. We can use our plumb line to help us find any vertical references.
We can also use the side of our drawing board to do the same. If we close
our eye and move in such a way that we overlap the figure with our drawing
board, we can also use that to see vertical references.
So for now, let’s see, I’m gonna then take one more height measurement of her shoulders and then we
can begin drawing. Okay, and then I quickly double-check everything with my mirror or with the
plumb line, just to make sure everything's in a good spot to begin.
Okay the shoulders can come down just a little bit more.
Okay, so just like always, we're going to go from side to side as we start our
drawing. Trying to get the large angles.
And again here I'm not really measuring anything.
It's more about just putting these blocks on first.
And then I'll go back and start correcting them.
So here I am really going just for the outside of the figure.
I haven't gone in anywhere.
This is supposed to represent the outside of the arm.
And if I generalize that angle I can go from all the way from the shoulder
all the way down to the knuckles, and then I can end with the fingers there.
And I just find that once I start having something on the paper that I
can relate to in nature, it really helps me
to see where I'm going with things.
So I'm doing that, when I hold up my pencil doing this over my drawing, what
I'm really thinking about is for example, where the top of her thigh is here
and I'm looking nature deceivers on her and I hold my pencil over and I try
to get at the same level.
So by having my paper over my pencil over the paper here,
I'm kind of spotting where I think the height of her leg is there, instead of having
to use my plumb line or the mirror at the beginning.
So now what I'll do quickly is just take my plumb line
and try to make any adjustments here vertically with having some information down.
So when I do this I find that from the toes should be going through head this -
about this much. So mine are a little too far over that way.
So what I can do is move my toes over, which will force me to also
move the outline of the leg back a little bit more.
Okay so this is where my foot will be more or less. This angle will have to change quite
a bit. But again, the nice thing about working with these simple straight lines is we can
move things around very quickly. Okay so I’m gonna hold the plumb line over my drawings just to
do this. Okay so my my toes need come back even further still.
The belly button as well tends to line up on the line on the side of face there.
Okay so I’m just gonna keep moving things around here on the legs
until they start working out.
Come down a little bit more through here.
Okay and I’ll just draw the - you can trace the center of her
body just through here. It’s quite clear. So we can start to go in to begin
to sketch out some more of the top of the knee here.
Some internal information there. It’s always nice to kinda draw through.
The leg is not in front of the back one, just to see what angle is
and through the other leg through there.
So as I'm doing that I find that the leg needs to come back even more.
We can push the legs back just a little bit more. So, let's say
in the first session all I want to do
is this kind of stuff.
I really just want to may keep the height of the chair here.
I’m gonna move her body parts around and really,
you know, make them the best I can.
Again the shape of the head needs to remain simple for a while here.
Okay the pit of the next will actually be a bit lower.
Mark out where the chins gonna be there.
Okay and the only other thing I mark on the head
is just the hairline,
where hair meets the forehead there because it also creates quite a strong contrast and it’s easier to see than
maybe the top of the head. So the other thing I’m gonna do is put myself back into sight-size and take a width measurement here.
Just across her hips. It looks pretty good. Can do the same thing through her armpits as well.
Looks also okay. Okay. So now what I'm going to do is spend one more second
here working on the outline and then I'll actually start with my shadow line.
Gonna sharpen my pencil really fast.
Okay so we can see by using a plumb line and continuously
going up over and over the same points.
Now we can see that the edge of the toes here, which I can define
a bit better. The edge of the toe was lining up with the belly button and now you can see that they head
no longer is here but is actually moving slowly back, which makes sense that as she relaxes,
she’s going to relax into the pose but more and have a bit more of this kind of curve.
So Amy’s gonna have a little break here.
I will do the same because when we start our next session,
the first thing I want to do is try to go back and move any body
parts to improve the gesture of the drawing.
And then we can start committing more to keeping that pose and working on introducing our
shadow line. But again before I take a break,
I usually just try to clean up any of that kind of - any of the lines.
And then I will have a break as well.
Okay, have a break and come back.
Hi so we're back from our break now.
So I’m gonna continue to move.
I think a little bit of the head and possibly a little bit of the shoulder, just to create a
bit more of a kind of gesture through the torso here.
And then we'll jump into
defining the internal information more with the shadow line.
So another little thing that happens with seated poses is they are very hard to go and
get back into. She doesn't sit in exactly the same spot on the cushion.
It affects all the other shapes.
So here we need to be flexible at the same time and just make the changes
that need to be made.
Okay, so I’m gonna move her armpit back here a little bit more.
You can move the whole actual side of the - from the armpit down to the - just below the breast we can say.
No, that will kind of push her back more
in her position, but if I do that I also need to shrink her - the size
of her torso there a bit too wide.
So the other thing I need to keep in mind is that there will be an
angle from her hips up to her armpit.
So here we can actually afford to move back a little bit more.
Okay, and I'm going to just recorrect her angles,
which now I see is being less inclined in that direction.
Okay and that starts to get a little bit more of this kind of sweeping motion through her body. If we
need to we can actually move in the hips just a little bit and also again
with the side of her body here,
which we you can try doing a little bit more.
Okay and I just wanna recheck the height of the armpits as well since I moved them around
a bit. Okay so maybe this one can come down just a little bit more. Since it’s inside the
shadow on our right side as we see it,
it is important to always keep it there.
But the big visual impression is not going to be about the armpit, it’ll be about the
shadow line that goes down the side of her body.
So the head shape as well looks a little bit boxy so we can also start
to make that into a little bit of a better shape.
I think now that I moved this side of the body I can also move the side
of the head a little bit more, I can stop this line
is her cheekbone which is a little bit higher up and then we can go down the side of the face.
Okay we’ll need to move her neck over as well.
And then lastly the arm will also have to move in ever so slightly.
Again just marking out where the bottom of the fingers go.
Okay and the other arm now that we can - now she's putting more weight on her other arm,
we can actually incline the shoulder in a little bit more.
We can move the handshape over a bit more as well.
I know that probably looks a little bit weird right now.
We try to actually block out the shape of it a bit better.
So this little mark here will be the top of the wrist where the shadow is. This will represent all the fingers
going at an angle. Okay and that will be the abstract shape for her hand so far.
And I’m just going to keep line going back to straight to the arm and later
we'll go back in after each and find the information there.
Okay, so one little thing we can discuss is what to do with the legs here.
We can do two things. One is we can actually draw both sides of the leg on
either side. We can then give it a shadow shape and give it a value.
We also don't need to draw the information on the inside of the legs at the beginning.
We can simply just draw the line of the shadow.
So that's completely up to you, it is a little bit more structural to draw the leg
first, the contour and then the shadow but at the end we will have both of them.
So maybe one time you can draw these two hour drawings by thinking about just the
visual impression and then one more structurally.
So here I’ll go with the visual impression just to show you what I mean,
and then we can try it another way in a different drawing.
Okay, so when I draw the internal information through the body,
I rely on the shadow shapes. If we have bony landmarks or important internal information where
there's no shadow, we can also mark it with our pencil,
but we try to use the shadow shape inside the body to get the
information. So if we're starting with the knees for example,
we start putting in our shadow shape, squinting your eyes as you're doing this really helps out
a lot. As I put down the shadow
I can also jump to the other side of the leg and just start to refine
the light shape that I get there.
Again I’m just kinda cleaning up in kinda rough lines that look funny.
Again I’m just going keep correcting my outlines as I need them. If things move a little
bit I can either leave them the way I had them before or after I find a better position for
them. I just simply move it and it's really not that big of a deal right
now at all. She's also getting used to this new pose.
So things adjust to become more comfortable and that actually looks a little bit better.
Sometimes we tell tell a model what to do and maybe they’re a bit stiff at the
beginning trying to fit in our ideas but as they start relaxing usually gets really interesting.
That’s another great thing with doing these kind of drawings is that you're giving the
model time to find a comfortable position.
Okay, so we’ll continue through the rest of the body, developing the shadow.
Okay I’m gonna move the bellybutton up just a little bit more.
Also need to move the thigh down here just a little bit.
Everything's getting a little too close together in that area.
So now I’ll just keep going down through the body trying to connect everything.
We don't have to go into any details inside
the shadows right now,
it's really just about putting down the position and we use the shows to also help
us with our proportions. Again I don’t want to sharpen the pencil too much where it makes like razor
sharp lines. We just need it to be - to be sharp enough to do what we need
to do. So you can do same down through the hand here.
If we squint our eyes we can almost see the shadow going through the hand that’s
resting on the chair there, down all the way to where the finger mass is here.
So we can either incorporate this all the shadow shape
or we can open our eyes a little bit and see if there's actually is a half tone
happening through here. So what we can do is kinda leave that, stop the shadow here and we can just draw out the
limit line of the shadow for the fingers
there and then we’ll come back and developed that later if we have time.
Okay we have this large shadow going across her shoulder and her neck
up into the chin. Now when we get to the face again,
we don't want to go after drawing all these details right now,
we just want to go through and get the bigger shapes that will give us something.
So if we start from where the shadow is - let’s see -
on her point of her chin, that will go up until her cheekbone through here.
Again, just looking across to make sure it's somewhat close on that level.
We have from the edge of that the forehead shadow.
We can sketch out where the center of the
nose will be. Okay so Amy’s gonna have a little break here. So here I can only really just connect the
shadows for the moment. Although she’s not posing,
The only thing I could do here as well
would be to give a value for the shadow,
but I'm not quite ready for that.
I don't have the shadow shape developed enough
everywhere to really jump into that for now,
so I have to wait for Amy to take another pose.
And with that next pose we’ll see
if we can get ready for having a shadow value.
And then we can take the rest of our time with Amy in this pose to
see how far we can take the drawing in our a time limit that we have.
Okay, so I’ll take a little break then.
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.
two hours working on a pencil drawing, we’ll have Johnny posing for us again,
so we can have Johnny step up whenever he's ready to the model stand.
Okay so now that we’ve done a few pencil drawings,
I'll try to go a little bit
faster the beginning so we can see if we can get a bit further.
It doesn't change very much from a simple drawings received
here. But maybe we can play a little bit more with the line quality and try
to refine the outline on the edge of the figure a bit more.
Johnny could I ask you to take your - the right foot in just turn it a little bit less or
so it's not so parallel. Okay.
So again standing away from our board.
About an arm's length away.
And again I’m gonna begin by marking the top of the head and the feet. This should become a habit
after a while. Almost like an autopilot.
Okay, and then I also want to mark the shoulders in somewhere else midway through the body.
Just trying to think about what's a very clear
area to that. So maybe here what we'll do is this will be what we call the
back of the heel here.
We can mark next to where the shadow is on side of his hips.
Okay, and I also wanna mark his shoulders again just to give myself more of an idea of
where the shoulder should be.
How tall they’ll be. So I can make that a little bit darker so I can see it from
where I'm standing. I’ll make it a little bit longer and darker as well as for me.
I look back and forth my eye just lines up the figure.
I’ll just double-check all those little measurements with the mirror very quickly.
So the shoulder line I believe canc one down just a little bit. Okay, so again before beginning we can take just one second to look
at the figure. We have quite a straight line going up from the foot is coming
this way all the way up through lower back and up to the head so again I
can with my plumb line as a start off here.
I think those are the important parts to relate to that heel.
So as I do that everything is just over the heel, so if I do this to
my paper I can say that the shadow
on his lower back and his butt is going to come over the line just a little
bit just a bit. The shadow on his back will be almost on this line.
Okay, and then the seventh cervical vertebrae as well be very close
to that line. You can also just draw the line down the paper at the same time,
but I find it’s just better to place a few marks and then get going.
Okay, so if I draw a line from his foot up just roughly through here, we’ll get
something for the inside of the standing leg.
We can also mark out the height
through here. Okay, so also we can mark just roughly the armpits
if you want to start marking these kind of relationships is another way to go about
it the beginning. I think again it’s probably better to go from the outside and start
working in so I again I will
go through input indication of how far away is I see the leg, the width, or again
I can take something and straight,
from the inside of the ankle here to the corner.
And get a rough idea of where
Of how this inclination works giving me a space through here.
Okay. So soon as I have that I'm just going to start jumping around the figure
and blocking in the figure.
Trying to get an idea of how wide the hips will be.
Again working side to side always.
I can also mark out the height of the other foot just to give myself an idea of
where the foot’s gonna be. Okay the arm sticks out the body on that side just a
little bit. I’m just gonna guess where that goes in.
Comes somewhere over there.
Height of shoulders. We look at both elbows together because they're both holding the pole.
They kind of have a like a locked In shape so wherever we say - wherever we say
one is - the other one can come down just a little bit lower through here - we can go across and say
the other one's going to be roughly here.
Put out some lines for the side of the torso here.
if this goes into the shadow, that side of the upper body here let it go into
the shadow shape, let it overlap and connect to that.
So now I’m gonna start to incorporate shadow lines at the beginning of the drawing rather than I'm waiting till the end.
Take away that old line there.
I find it that also this sometimes helps to speed up the drawing process if you're in
a time crunch. But a lot of times well,
it helps to just see the impression of it clear from the beginning.
So I wanna mark out as well the
inclination of the foot down here so we can make sure he's standing correctly.
Draw the bottom of the hair mass since he has dark hair that was going
to act almost as a shadow.
Okay as I get to the knees I should
probably mark at the height of the knee.
or the back of it here.
Just as s little bit of reference.
Again I’m using all these kind of scratchy lines
if you want to call them that, much more as just kind of like a guide.
And the idea with this whole thing
is that the more you practice, the more you can join different steps together,
so you can see a lot of progression in terms of speed.
the more you practice the more you're making up your own process just based on this one.
The back of the knee should be some around here.
Okay, so now roughly I have the figure down.
Again, the light that’s on the side or on the back of that leg there is going to
just continuously change depending on how the model sinks into the pose.
So I'm going to give that a few minutes to kind of settle down before I
place it. So as I'm doing this, working on the outline,
the contour of the body as well as the shadow line together,
I think it really helps you to kind of have a more harmonious
drawing. I keep thinking if I work on one thing too long
by the time you get back to the other part of it
things have changed or I've been focusing too much on insignificant pieces of it.
So when I usually draw for myself,
this is a bit closer to what I would do.
Meaning the same steps, which is when I need something
I did put it down there, I
don't wait so long. And sometimes it works very well and sometimes not.
So as it’s going down the leg again,
it's just moving these little points around.
If you feel like your pencils getting a bit dull and your lines are getting a
little bit scratchy and you have to push harder to make a clear line,
either take a second to sharpen your pencil or switch pencils to sharpen.
So so now that I’m thinking about it, I should probably take a step back and look at the entire
drawing as a whole just to see
how to gesture in the body type is going. Okay,
this whole shoulder is getting a bit high here, going to bring that down.
Okay, so it's time for a little break here.
So before I take my break again going to connect the lines that I didn't do
when I was putting down the first ones.
Any scratchy lines that are not helping me out or try to clean them up.
I'll also try to thin my lines down
continuously as I’m working. Now the first lines are fine to have a little bit thicker but from now on
I want to start to keep them thinner, which will force me to continuiusly refine them. I think if I
keeps them too kind of fuzzy for too long
I keep with that fuzziness I’m never going to go away from it.
Okay any interior kind of constructive lines or kind of lighting up a little bit, keep them there.
They’re just a little bit lighter then
any of the contour or shadow lines. Okay,
so I'll have a little break here and come back.
So we’re back from break now.
So in the first 20 minutes here
I've put down the general outline and almost all of the major part of the shadow shape.
So now is as Johnny gets back into position here,
I'm just gonna take a second
look first at the gesture of the pose, then the widths,
and then I will continue on with putting down and developing our outline and shadow line.
Okay, so I was noticing in the mirror there
was that it’d be nice -
I think I'm starting to get the curve with a kind of bend in the
outside of the body. I think as it gets down to this foot here,
we need to go in and out a bit more so you can kind of finish
off that rhythm of the body. I think that the inclination of the standing leg is working
well for now, but I need to work a little bit more on the connection of the shoulders, armpits, and
the neck. Okay so on the lower leg here, see if you look - well if you
open your eyes and look into the shadow,
we can try to spot where his ankle bone is towards his feet here.
And we can just kind of suggested it.
We can the back of his heel.
And while we're here we might as well put on that shadow shape.
Or light shape is easier in this situation.
And we can also inlcine a bit more the top of the foot.
Okay. So what I like to do here is you find that point out there,
from there we can bring it back. If jump to the other side,
this point has to be lower,
okay, that's alright. Thin down the leg a little bit on that side and as it comes
back I want to try to connect the outline there to the ankle.
And then let the top of the foot go behind that line.
Okay and the ending of the foot we can just guess right and say it's going to end
there. On the other side we see the other side of the foot. Okay we can also even break the shape of the foot down a
little bit here. Just paying attention to the distances that we’re creating with these shorter lines.
If they all have the same distance
it starts to make it a little bit generic so
we need to make sure that every line we put down is not the same
length as the next line.
Okay, so let’s keep moving up.
Anywhere you can overlap a line,
anywhere you can let it go inside the body stop, if
it comes out the other side you know even better showing this all comes in front
and everything else here was behind.
Okay, let's jump back up to the torso and the shoulders.
Because right now I have the shoulders tilted just a little bit differently.
So what I'm going to do is raise this one up a little bit more because it’s
a little more even right now,
so not so inclined. And because we don't have an endless amount of time on
the drawing, it’s better to kind of follow the model around a little bit I think.
At least for this pose.
So if I raise the shoulder down - or raise it - if I lower the shoulder down here
And get a little more height for his neck if I do that.
The chin’s just poking out over here.
Again for the face it’s just going to be a line for a very long time.
Okay so the other shoulder can raise up just a little bit.
This could be a little bit of a longer section through here.
Okay, the outline of the body here can come in just a bit more.
Now we can see where the hip bone is out there.
I keep kind of erasing that line because I want to move it in so he's going to get
too wide. Okay I can also start moving in the arm a bit more. Double just my elbow, I think it’s just a little bit low.
Can come up just a little bit higher.
The pencil has a good little hard spot on it, it’s kind of funny.
Okay so I’m just gonna try to tuck that in a bit more.
Okay, so as I’m working
I want to keep my eyes on the big impression of things.
So again I need to keep moving around, if I stay in one area too long,
it is - I won’t see the whole picture and then I run the risk of
making bad relationships and then go back and forth and try to find and fix everything so by
moving around the drawing constantly
it helps to avoid that a bit.
Okay, so what I need to do now is close off my shadow shapes so
I can start putting in a value for them.
So as I get ready to do that
I also want to start to refine the shadow a little bit more too. And again,
I know I haven't said it very much but I constantly looking also at the shape
of light that’s created for the drawing. Also trying to think as I’m developing the shadow shape here wherever this
point is I look to the outline to see where
the other point is. Doesn't have to always be a point there,
but it's more looking at relationships from one high point to a low point and making
sure they're not exactly across from each other.
That could happen but normally it doesn't on the figure.
So if you’re ever hustling, make a point here and a point
there on the same level same with what I just did now.
Take a look at it and see if it's actually like that or if it's just
you. It needs to be a little bit lower that one.
Okay so it's about time for a break again.
So again before I take my break, I am going to go through the drawing, try to
unify my lines. Is there any lines that are getting a little bit patchy,
Or too dark, too light I can adjust them so they're more similar.
I want - I don't want all my lines to be the same.
But at this point in my drawing I want them to be incredibly clear.
So I don't give myself any mysteries or try to cover any mistakes with a fancy
line or this or that. What's the best way to do this if really to call all of
your - like put more noise into all of your mistakes. If you do that,
then they just jump out more and if they jump out more you’ll notice them and you'll
see how to fix them.
Okay so if I wanted to I could put a value in for the shadows.
But I didn't quite get all of them
closed off there’s still one missing and there’s still ones kind of open.
So if I had done that and closed off all of my shapes and my shadows,
I could take advantage of the break and actually fill in the value for those shadow
shapes. So I’ll spend just a minute when Johnny gets back up on the stand and
try to close this off so I can give myself value and start playing
with that to help me
redefine my shapes. Again, just stepping away from the drawing now is a really good thing to get
used to. Okay, so let's have a little break then.
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