- Lesson details
In this lesson, Leo will work through the same problems but in a short pose drawing. He will be working on toned paper from a live model trying to get a real sense of who this person is and how he is standing.
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start with it. And I think what I’ll start with is just adjusting a couple of
little drawing things and they're going to organize my values a little bit more and then
I'll start refining after that.
So the elbow needs to be a little bit bigger.
The shadow shape here's a little short,
so I'm going to make that a little bit wider.
So what I’m trying to do now is just to kind of sketch out where the dark part of the
eye would possibly be. It’s not just the pupil of the eye or anything like that but
it’s the whole shape when you squint your eyes,
whatever kind of dark mass you can make out through here is what to go for. If you find yourself
drawing the eye ball and the little pieces inside, you went little bit too far too fast.
So you want to slowly kind of pull out information.
Do too fast. Just a little too dark for the value that I have right now.
So I wanna kinda unify it there.
It shouldn’t stand up too much more than anything else.
Okay, so now as Amy goes and takes a break,
I'm going to continue on today when she's taking a break and working with my background
a bit more. Basically just trying to unify it
and fill up any of these little gaps. It makes a bit of a difference, it just makes the whole
image a bit clearer clear too.
It also helps you start thinking about kind of refining the image. The more scratchy
and all over the place
it is, the more it stays in this middle stage. And now in order to push the drawing
a bit further forward I think it's a little bit clean up.
Okay, so it's nothing really exciting.
It's more about just being patient time consuming stuff so I’m gonna try to darken the
background a little bit more.
But also just to make it more unified and more flat.
Okay, so I'm going to have a little break and sharpen my charcoal before Amy
gets back up so don't waste any more time with her.
Okay so I’ll come back in just one second.
Okay, so we’re back from our break.
And as I start to manipulate the outline,
just make sure that you go around thehe entire leg here, not just in one small section when you're correcting
things like this. So if you want to for the hand here that's holding her arm
on the shadow side, we can try to give a little bit of abstract shape for
it. Again in these situations
if it looks really really weird and awkward it’s probably better not to put it
in. Or you can ask the model if you're working privately with them to just readjust
their hand so it makes more interesting shape.
I'm just going to ignore where the mat touches the light gray box for now. I
find it to be a little bit distracting at the bottom there.
So I'm going to use that black mat
value and just continue carrying it out.
And again we think these choices afterwards so they’re a bit more aesthetically choices. The main thing we don't
want to do is distract you from seeing the figure.
If anything distracts you from seeing the figure then you know,
that's an answer to whether you should add it or not. Okay I’m gonna lighten the nose up just
a little bit here. And as I’m doing that I’m going to leave a little bit of value between the
outline of the nose here in the shadow side and the brightest value. If I go
all the way to the edge with the same value it'll make the form very
flat and a bit more cut out looking.
So if I try to leave that value we’ll see how it goes.
So the nose and the upper lips also have to go up a
little bit in value. Not a lot,
but if it doesn't look a little bit disconnected. Okay so I'm going to take just one more
minute here again and just finish filling in the background with a darker on the side
of the drawing. And another thing you can do with these backgrounds is that if you
feel like the charcoal was just kind of falling all over the place,
you can take some spray fixative and lightly spray the background of the drawing,
which would give the background again a little bit of tooth and it can actually
make it just a little bit darker
than you came with helmets.
I don't think we'll have to do that here but…Okay,
so that's about good before we take a little break here. Again I don’t want to spend time sharpening my charcoal
while Amy’s posing so I'll take a little break and sharpen my charcoal.
Okay so we're back from our break now.
Amy get back into position there.
Okay, so now we basically arrived the value in our background that it’s going to be. We don’t have to
really worry about darkening it so much more. All we need to do is just
unify it and make it a flat tone.
Okay so if the charcoal was too hard,
Don't use it. Okay so I’m gonna sharpen up some charcoal and get ready for the next session.
So welcome back. As Amy finishes up her break here I'm going to continue working
on the background and unifying my values throughout the figure.
Again, just to make more use of our time with Amy up on the stand.
So again, I use the mirror a lot.
Especially on a break and just kinda look into the mirror and see if there's anything that jumps out
to me in the mirror as far as like patchy areas or things could be more
unified. Now if you remember something fitting way more into the background and now it really
jumps out, you know, you can start to unify that value back into the background a bit
more. It's kind of nice because when you're - when the model is not standing up there
you feel a little less pressure.
You can take your time thinking about
why are you making these choices,
can you better anything or do you season that’s funny that you can learn better when the
model when she’s posing. And again here, I'm not really trying to change anything at all.
I just want to get rid of negative these little dots that are darker than the rest of the
value. So the shape starts to become a little bit clearer.
So when Amy gets back up there we can start to redefine them.
Okay and here I’m unifying with the eraser without using the charcoal because I don't actually want it to get any darker
per se. I feel like sometimes the erase just takes it up to a little bit to
a lighter value, but it's very easy to pass the charcoal over just to put back
the value that you want to work with.
Okay, so Amy’s going to get back up on the stand then.
finish everything. Okay, just making sure everything’s sharp. At this point in the drawing you really don't want to use anything but
sharp charcoal. If it’s dull you might as well
put it down and grab another piece and even stop if you have to sharpen it.
Okay lastly before I take a little break here.
I'm going to try to
soften but also keep the clarity
of the edge of the back of the leg here.
Again here all I want to do is just kinda unify the shadow shape, I don’t wanna change it. So I’ll unify
with the eraser a little bit and then I’ll darken it back down with the
charcoal. Otherwise the values of the light shape of the arm become too similar
to that side of the arm and then it doesn't work as well
in terms of values. Okay,
so Amy’s back on the stand now.
I'm gonna grab some freshly sharpened charcoal here.
Just a little bit bright as a highlight.
So what I’m gonna try to do is adjust the values around it, meaning start to
play with these surrounding values that are touching it and try to make them a little lighter.
So we call this expanding the light and I’m gonna expand it one time over her hips
and then I can come back and hopefully once or twice and
I'll find a better arrangement of values for that
area that isn't so glaring.
Okay and as I do that I’m just going to keep in mind the shapes then I'm going after
so don't start to go backwards too much.
Okay, and then here again,
in this little area I don't want to get over modeled and very -
I have a lot of different values happening here
so I'm going to try to get as close as I can
to each other but stopping before they become exactly the same and then they lose the information.
Okay so I’m going to take my drawing and flip it upside down as we take a break
here just so I can go and get a fresh eye on it when we start
again. Okay now as - if you flip your drawing at this point,
we really carefully don't slam it because if you do all the charcoal will come off
and it's not the nicest thing to have happen at this point.
But for me it's nice to see upside down.
I can see that maybe all of the kind of outline and my shadow through
here can be a little bit similar.
So I should go back here at some point in the process and try to develop
that a little bit better. I think this is going to work a little bit better here.
I still need some more work on this kind of passage of light as we said
before and trying to design a shape down through here
that will give me form but also allow me to go through the figure.
So let's take a little break and rest our eyes and we’ll come back.
So welcome back. We're about to get started again,
I'm just making sure that all my charcoal is as sharp as it can be.
I don’t know if you can see that so it has more like it this kind of like nice shape to
it where it has a very thin edge one side and goes kind of to a point.
The reason I do that is it just gives me a very thin line if I
need it and it has a small tip to it.
So if I need to really work in a small area,
I can be a little bit more precise with that.
Okay so I’m gonna sharpen my charcoal.
I think when we come back,
I'm going to try to go see if I can get the values through this part
of the drawing working a little better. I’m gonna give this area of the drawing a
little bit of rest. I find if I stay in one area too long
I stop seeing.
So I'm going to sharpen my charcoal which needs to be done
and we’ll come back after the break.
Okay so we’re back from break now.
I'm going to continue to work my way around the torso here.
I noticed that things are going kinda connecting here and they shouldn't so I’m gonna just separate them a
little bit. Okay I’m gonna put a really light value across the lower half of her hips here, just in like this
area through here so I can keep the light a little brighter up here in the
top. And again not so much to say right no.w
It's just more running around
all over the place just kinda of if you see a shape that can go up or down a millimeter,
you know move it. If you find something that looks like it has too much contrast
maybe try to put some closer in value
so they don't create so much contrast.
So I’m gonna break that line a little bit, it’s just a little bit strong. And again in this area here
I'm just trying to keep, you know, a larger shape that runs like something like this. Whoops, let’s see where was it? I can see this connect pretty well through here so what I keep doing is trying
to like every time I adjust the shape just make sure that these are always connecting
with each other and try to make sure that this also stays quite clear through here.
And if it doesn't then it just means I need to go back and redefine
the shape most of the time through its contour or through another shape going here,
which will give me the top of that shape.
Okay, so as we get ready to take a break here
I'm going to flip my drawing upside down.
Okay, so I feel like something through here are starting to get a little bit better.
Definitely a ways to go, after we have our break I'll come back and start working much
more on the shoulder area through here. We can say the shoulders and like the neck and try
to see if we can kind of resolve everything else to the same level and then we'll go
up to the head. Okay but for now let’s have a little break and sharpen out charcoal.
Okay. Amy can you do me a favor?
Can you check your elbows on the chair
just to see if it’s in the right -
that's perfect, good. Cool, thanks. Okay so we’re just going to keep plugging away here.
See if I connect this value down to that one.
I got just a little bit too sharp there.
Okay the scapula back here, I think
I'm going to try to get the shape a bit clearer and then I'll put it back
down in value so it’s not competing too much with the other scapula.
Okay there I’m just trying to unify the value just a little bit more.
Okay so this is just a little too light. Put it back down.
Okay I’m just gonna flip the drawing over again. Okay and I just keep unifying values.
Just trying to get rid of all that extra noises in
the shadow side I think. Again just try inside the body if you do this,
just be careful not to change the volume and she gets much.
Okay, so we’re gonna get ready to go here again in one second.
So it’s really nice having it upside down because you can get
you know a better angle on some of these shapes that
are a little bit more annoying to do. When the drawing’s the other way. Okay,
so we’ll flip it over again and we’ll keep going.
Okay I can see a little bit more of an interesting shape.
We can make the shape of it lighter through here. So all I’m doing right now is going back and forth,
just trying to adjust my values.
Again, ot a whole lot to be said, it’s just going
just thinking in my mind, okay as I look at our model here some
parts tend to have too much contrast, too little contrast or they jump too much or
when I say jump too much, means there’s too much contrast.
So really what I'm trying to do is just go back and forth with the eraser
and the charcoal and try to make smoother movements between each value.
And as we get closer and closer to things that work, you know, we tend to kind of - they
don't jump out so much.
And then, you know, you're getting somewhere close to what things should be.
And this is quite difficult to do in charcoal. In painting it’s a little bit easier.
But when you start working int light halftones then charcoal
I think you just pushed too hard or this or that your values get all jumped up.
It just takes a little bit of time to go back and forth and keep everything going.
Okay up here I’m trying to create just a little bit less contrast. I think the edges are
just a little too sharp so just leave it in a slightly better position for
myself when Amy gets back up there.
Okay, I'm going to give myself a break here and sharpen the charcoal and we'll
come back. Okay we’re back again from our break.
Okay, so I feel like I need to connect better the - I need to connect better this area
of the drawing feels like - what I like to have happen is this light passed more through the
center through here. I still feel like it's a bit kind of unorganized and so instead of trying
to make the little shapes better it’s probably better to make the big impression better and then
go back to where you look at smaller pieces of it.
Okay, so any of these
darker shapes have the bottom here are gonna light up just a little bit.
I don’t want to lose them.
If I feel likeI start to lose them or I wanna go back more,
I can always go back and touch it again
with the charcoal and kinda reinforce the shape.
So I feel like this point here needs to get a little bit darker.
So I’ll stand back and see
as well how the shape works just a little bit.
So if I kinda darken down the sides and make the centers appear to be brighter without
actually changing them as much.
Okay, so as Amy takes a break here again, just tidy up or going to finish
up my thoughts. Again just unifying shapes.
If there’s anything again to kind of cut out looking just make a note of it. If
I could erase just a bit too much there so we can put down the value there to kind of
have less contrast, a little bit sharp.
Over here we have to let the neck come in front of this angle here.
So what we can do is kind of indicate the halftone a little bit.
Straight from this edge and don't give so much attention to that one there.
We can kind of work on that a little bit more when Amy’s back up.
Soy gain as we start to go over and over and over the whole drawing, passing over it,
you know, kinda refining shape, refining values,
trying to connect everything together,
things should start pulling together a little bit better.
Again there’s going to be constant little areas that kind of jump out. I think the
more experiences you start getting, the less you have to do or thinking like step-by-step you can
start to, you know, play with a bit more all at the same time.
And also in terms of finishing a drawing as well
at the end it’s really up to you how far you want to take the drawing.
As far as we’re concerned, once the big impression is understood and the proportion, gesture,
light effect are all working, then you can stop and consider it a complete exercise.
I do recommend however at least one you go and try to make it as perfect as you
possibly can without sacrificing anything. And by doing that you learn how to get there faster
the second time and what structures you can combine
for yourself, because everyone’s going to have something slightly different.
And the other reason for that is sometimes you need to make a mess.
And learn how to clean it up. And it also kind of breaks the fear because sometimes it's a bit kind of daunting
to just, you know, start putting down a lot of values and everything looks far apart.
But then the joy of it is once you hit rock bottom,
once you turn everything around to go forwards it's really rewarding so. Basically don't give
up if you get discouraged. Keep pushing through it.
Okay. So this will be our last pose of the day. I’m just going to keep going with what I’m doing,
getting ready for the next
session. I'm going to keep up with what I was doing up there.
Just keep refining my shapes and
I'll pick up tomorrow wherever I leave off
and see how far I can take it tomorrow.
Again I just want to shape it into more of a kind of a point here. So try to get that going a little bit better through there.
Amy can I have you turn your head just a little bit towards me? Thanks Amy.
Okay, so we're going to release Amy for the day.
I'm just gonna spend a couple minutes before stopping here and just going to clean out
my shapes and clean up a bit more.
Tomorrow I’ll spend some time up on the head and try to get everything else to
work together just a little bit better. I feel like that's the part behind that’s
kind of falling behind now. So again at this part or this stage of the drawing we can say we still
decided to get ready for the kind of modeling stage,
which is very similar to what we're doing now,
except we can just really spend time in areas developing as best as we can with
the amount of time that we're given.
But any of these kind of like areas where, you know, if the outline
can be a bit cleaner
or any of the value inside the body
can get flatter? Nothing too crazy though.
I don’t want to start changing the whole drawing.
Okay so I'm just going to look at the background see if there’s any like weird spots and again try to just unify those.
And tomorrow when Amy comes back we can actually draw a cast shadow on the floor again
it will help the light affect just a little.
Alright so I’m gonna flip the drawing over now
and just see if anything jumps out at me before stopping for today.
Okay I’ll spend just one more minute on the inside of the figure. Just suggesting a couple things here and there and then
we’ll call it a day.
So I’m gonna clean up my shapes here in the arm.
Again not necessarily changing shapes or anything just kind of flattening out.
Making the shape a bit clearer so when I come back tomorrow
I’ll have an easier time seeing and correcting. Take this little value here, it’s a little too dark.
If anything it should be like a lighter value here and getting darker as it gets towards the shadow,
especially the light’s hitting it from the back and the side.
It is very nice having a few minutes without the model just to kind of clean up
the drawing. Flatten down the values and just making everything clearer for ourselves so the next time we
get to work with Amy we spend more time correcting and less time with those stupid technical
stuff of trying to make flat values. A lot of the times if you just flatten out your values and organize yourself a little bit, things are not as all over the place as you think.
But if you can't seem them clearly it’s going to be a lot harder to draw.
Okay so I think I’m gonna stop here then
and we'll pick it up tomorrow
where we left off. Okay so we’ll leave it for tomorrow and we’ll pick it up then.
We are going to try to move into more of the modeling of form and trying
to refine the drawing as much as we possibly can.
So yesterday I flipped over my drawing before calling it quits for the day just to help
me look at the drawing in a different way and to unify some of the values inside
the body. So now I’ll flip it back over and we can get started.
Amy can you do me a favor and check your elbow
that’s on the chair to see where - yeah the feet look great.
Thank you. Okay so like always we can start out by seeing if there's anything big to
move around. Any corrections.
So on that standing leg I'm just going to play around with the outline just for one more second. I can
see that there are ways to find a leg as it comes on the front here,
it comes down to one point. If you go across to the other side here,
I feel at this point down here
should be just a little lower than that side.
So it's gonna be somewhere around here.
So I’m just going to chop off a little of the leg here again.
And I don’t have to draw the whole line between the leg here as well.
If I can get this at the right angle, it will take your eye down to the where the
knee is in the center here.
It doesn't really miss so much.
The other thing in the head is just try to get the placement and everything else a
bit better, and then they can go through and push the values a bit more.
I’m gonna try to use a harder charcoal because every time I use the other one it get’s so dark so fast.
So what do I want to do here is I want the shoulder - the scapula,
the shoulder area through here and that to be my brightest points right now.
And I find that the light needs to drop off a bit faster through here.
So I’m gonna take one second just to adjust some values through here. It
shouldn't go too much darker but
just a little bit would be nice.
Okay. So Amy’s going to take a little break here, I’m just gonna touch up any of the areas that
I see need some attention.
I try to keep the paper white as well so if it starts getting a bit dusty
you just push a bit harder and bring it back to the brightest value.
So so I’m gonna take a break and sharpen the charcoal.
Okay, so we’re back from our break now.
I'm going to continue on with
adjusting my values from the shoulder down towards her hips
until those start to connect a little bit better and also the arm as well. I think the light in the
arm is just a little bit too bright.
Okay so I'm noticing here at the bottom
this is getting just a little too dark.
Okay I’m just trying to lighten that darker value on the bottom there.
I feel that all this needs to come over, come down a little bit in value.
What I’m trying to do there is just kind of
get the form to turn a bit this way.
And also that the edge gets a bit stronger here and then gets a little bit
softer or not as strong.
And it gets a little bit stronger as it comes down towards the elbow again.
So by darkening the value a little bit here,
I can get the form to turn maybe just a little bit more.
But also I can start getting more of a variation of - at the edge of the figure,
which is a great thing.
You know having variation is probably the thing that makes it much more organic and realistic.
And that just takes time, patience,
and just a lot of organizing.
Again what I'm trying to do through here is just connect values together.
So I feel that maybe some areas that maybe these are getting a little bit too
strong. Maybe this line going down through here is kind of separating these two from connecting.
So I’m just going in circles here trying to figure out which organization or grouping of values will
give me that same flow of light down the figure.
Now as we do that too we try to keep our
shapes very clear. If it’s possible.
This would take such a lot of back-and-forth and a lot of time.
So again here
I justI feel like the contrast is happening too much between here and I went to
kind of go across the form a bit more.
So again, I can either lighten up the whole shape or kind of just break that line
between these two values and see how that works for me.
Okay, so I'm gonna take one more second here and kind of flatten out some shapes through here.
So when she comes back I have a better chance of correcting them. Again I’m just trying to flatten out
the shapes, not really change their character or their shape at all. So if I do do
that then I'm going to stop myself.
And another good things at this stage in the drawing is actually to look for references.
So if you have any good books or there's a bunch of images online that are
high-resolution, to have one out next you as you're working so you can see how other people's felt
these kind of issues. And want I take breaks that’s basically
what I'm doing is I'm sitting in my phone and looking at
images, not even only for this project,
but when I’m painting in the studio.
I find that really helps a lot. Okay, so I’m gonna take a little break here and sharpen my charcoal.
Okay, so we’re back from break again.
I’m gonna quickly run down to that light shape between the legs and work on that for one second
while it’s there. So the thing about there was that
we have a half tone coming across this part of the body through here and it's usually
one spot on a shape where the light can pass through.
Okay. So if I follow this all the way until about here, I see here is where that
little kinda like passageway of light goes down into her scapula and then into her back.
So I'm going to try to like, I guess break this value here, allowing the light to
go through. And it shouldn’t be super super obvious
either, it has to be pretty subtle. Otherwise then it looks like
the shape is getting a bit weird.
Okay, so I’m gonna take a break as well and flip my drawing upside down and sharpen
my charcoal. Okay so now that I'm standing here thinking about how I get the light
from the shoulder to go all the way down to the hips,
if I stare at that kind of like a passage area through here.
Okay in here actually I'm thinking about what's happening on the outside of
that area, as I do that I start realizing that I’m becoming eally
obsessed with what's going on through here,
but I'm missing bigger pieces of it and how we have this darker, kinda
triangle shape going through here.
And what that does is it kinda forces the light to kind of go through
like that, so again at keast for me,
it's very easy to caught up in smaller shapes and
as soon as you remember to look at the big picture
again usually it helps out and gets you some answers.
So I'm just going to go quickly and just darken and unify the area just a
little bit more. Maybe I’ll do it in a couple passes. I’m gonna unify this shape as well just a little bit more.
Okay I’m just squinting my eyes going up and down the shoulder and the back area.
Okay so from here back as well, going that way,
I don't necessarily want to darken it so much, maybe just a little bit.
Again I just want the light to kind of start transitioning around this area a bit more.
Okay, then also about her edges and this area through here they become just a little
Bit fuzzier. So I’m just gonna try cleaning up the shapes just a little bit and we can work on that.
So when you squint your eyes a lot you don't see any separation of line through here. So I’m gonna try to lighten that up.
Or even take it away. And then we look for other areas where we see that separation,
which could be at the edge of the shape over here.
I think we also have a slightly darker
value going through here. What I’m trying to do here is just make up a little shape for the back of the scapula here.
And I’m trying to not push too hard otherwise
you just start to break up the values a but too much.
I just try to break up the values slowly and see how the shape is going.
So it’ll be a darker value here from somewhere inside.
Just trying to make the little value in the back stand out a bit more.
Okay I’m just gonna unify her shoulder a bit up here.
And if I do that again I go underneath it and make sure the shape is clear.
Again all I’m doing is just looking around and seeing if I can clean up everything. Ii could be this, the
the outline or the background need a bit clearer.
I still need to go around the whole drawing and look at its edges, which is probably a good idea to do that sooner rather than later.
Okay, so I can get myself one second to take a break and sharpen charcoal. And we’ll come back.
Okay, so we’re back from our break now.
When Amy gets in position we’ll continue working on
kinda going up and down the big light shape
and adjusting things. So clarify my values, meaning that I have a clear shadow
and a very clear half tone is lighter than the shadow.
So if I have a shadow shape that often goes along the edge here and then
the next value needs to be brighter so they have clear different steps. if they start becoming too close to
each other in the wrong way, then everything starts to going to kinda get washed out and the form gets
lost and it start to go away from what it looks like in nature.
I feel like this here can become more of a triangle unified shape so I’m just gonna try to
I’m just clarifying shapes in the back of the knee here for myself.
Okay so I’m just gonna finish up the knee shape here.
Okay I know that’s getting a little bit too contrast down there.
What I really want to do is have a clear shape and then I just go back
and suggestion its value. I'm going to leave it like that when Amy comes back
at some point I'll go back and rework the values and the shape just a little bit more
through here. Okay so I’m just going to adjust anything that I remember needed to
be adjusted. It’s funny, as you’re drawing you almost kind of memorize the shapes.
shapes. It's interesting. Okay so I’ll have a little break and sharpen my charcoal.
Okay as Amy’s getting into position I’m gonna push these values of the lower leg a little bit closer together.
I’m getting like a little halo between, which shouldn't happen.
Okay so I’m gonna move this forward again a little bit more.
Again I’m just gonna clarify my shapes
here, Okay so here I kinda lost my darker half tones. I’m gonna reestablish that.
Okay so I noticed this whole value here can group together a bit more. Again the same thing we;’re doing in her back we’re gonna do through her hips.
Okay, So through this area here
I have a little bit too much contrast happening through here,
which kind of breaks everything up there.
So I think if I put that almost like a faint half tone in through here. So if I
put that down a little bit in value hopefully it will connect a little bit better.
Again just passing over the whole shape of the shadow of the leg just seeing if I
can better that shape. Sometimes I squint my eyes when I'm doing like trying to unify
a little piece of the drawing so with my eyes open I tend to focus on whatever was lighter
and darker. If I squint as I’m just putting down a value
for some reason it just seems to work better, I don’t know
why. Okay so there is one second here
I’m just looking at the drawing,
seeing if I can ajdust this little piece here. So I’m gonna stop there I think
and always want to see if there's some things to do.
Okay so I’m gonna take a little break here and sharpen my charcoal.
So again I’m just passing over my shapes in the
leg. Trying to get everything into position a little bit better.
Once that locks into place a little bit better than I can go back in and
have fun. Kind of redesigning shapes and you know playing with edge, things like that but.
Alright then. So I'm going to take a little break for
lunch here and we'll see you after.
Hi, welcome back. So using - I’m going to take one or two sessions here and I've actually lowered my
drawing board down so I can focus more on the portrait or the head and
try to get the shapes better and it’s just a little bit annoying to have to work with
your arm up the entire time. So what I’m gonna do is stand a little bit closer to the
model now and just try to see if I can resolve any more of the shapes
going through the right side of the head here and the ear just a little bit more.
And then when I have that I’ll put it back up to the sight-size height
and continue on the full figure.
And I do this quite often when I'm working privately with a model.
Okay, so the other thing is, since I'm only going to be working on basically Amy's head and her
shoulders here, I'm gonna let her relax her posture a little bit more so we can save
some of her hip pains. Okay.
Looks pretty good. So Amy if you could just focus on one spot on the
wall or anything. Okay, so let me start off
by just kind of clarifying a few shapes.
Okay, so I’ll have a little break and I'll come back and continue on the head.
Okay so we’re back from break now. So basically what I’m trying to do in the head is just
work on a little bit of placement of things.
I want to make sure that, you know, that the area through here kind of connects,
making sure that I have the center of the ear placeable with inclination down towards the nose, trying to continuously
redefine the shadow shape that comes through her face here all the way down
until it goes over her shoulder.
And all I'm doing is when I feel like I'm looking at too many small pieces,
I stand back and try to group them or unify them together again in larger pieces.
For me it’s really just kind of like puzzling things together a little bit.
What I really should be focusing on although I get sidetracked a lot, is looking at this
bigger shape as it comes down kinda like the mask to the face if you want to say.
We gotta go after again the big light shape, this through here.
Sometimes also could just look at the draw line for example and seeing if those distances
or inclinations and everything work well. Okay
So as I’m doing that, I think I can actually afford to have a little bit more space back through here.
So again usually I forget to speak as I'm drawing.
But that's basically what I’m thinking about is just when you compare shapes
do they look the same? If they do good for you and then we can start
working on the value of them and their edges.
And once you get that far, then
you're pretty safe. Then you can just kind of finesse it all you want until you're
happy with the way you’ve described it.
And if you haven't gotten to that point yet then just, you know,
a bit more time, patience.
We need to have a break.
Again, like I did yesterday’s session,
I had a friend come and look at the drawing and that was incredibly helpful. Whenever you work
on something for a long time,
when you get tired of seeing it,
you can't even see where things are
right or wrong. Whoops. Held the brush the wrong way there, that’s what happens. Just for you to know.
So another problem is just standing too close to the work the whole time.
So I ‘m gonna try to force myself to walk a little bit back and forth here.
I think the cheek shadow can go down a little bit more. I think that distance is too big.
So I’m gonna go into that, think about starting to draw out more information in the eye. Again it’s always less is
more. In this case the more you do
sometimes it becomes a little bit too illustrative, at least for my taste I guess.
Which there’s nothing wrong with that.
Nothing wrong with that, just grabbing too much of your attention into an area where there shouldn't be
that much just because we know there’s an eye rather than comparing it to the whole
overall figure. As long as you're comparing things, then you should be just fine.
The eye’s gonna move inside that a bit more. Again I’m not trying to finish off that, I’m just trying to
get everything just a little closer so the next time
I come back here to really
I shouldn’t say to finish off but relate it to the rest of the body I'll be in a better position
for for that. Just dealing with the little white shape on the bottom of the nose there.
I’m trying to use that little shadow shape at the bottom of the ear there to describe the jaw much
more than the actual ear right now.
Make the nose a bit wider here.
Move them up just a little bit. Okay so what I’m going to try to do now is start unifying my values in the head just a
little bit more. So we’ll get it to like that level possible before the end of
this pose. Again the reason for doing that is because I want the head to
be as much a part of the whole figure as possible, I don’t want it to be a separate thing. And
the more time I spend just in small areas the more I risk detaching it from the
rest of the drawing. So I’m just gonna finish the ear shadow and then we’ll do that.
The last line was a little bit too heavy.
The cool thing about the ear is when you squint your eyes these values
go together so you don't actually need to have an outline or anything.
There is a like a mystery zone and the shadow shapes should will be the thing that holds
it together. Okay so I’m just gonna tone down the value here a little bit.
Try to integrate the hair a little bit with the forehead. If you squint your eyes, this place with that hair
can blend a bit more with the forehead. Just as we’re doing down the back here,
we have something similar happening just through there. A little passage.
And as we said the last couple days, the hair will change constantly so there
you just basically decide if something looks good,
if you like it, keep it.
If something is a better design then feel free to change it around. So again just circling
around in circles here. I'm going to try to lighten up these shapes just a little bit.
The reason I’m lightening up the shapes there is
I think inside the light part of the face, the shapes
get really heavy and dark.
It just seems a bit
too contrasted and too intense. So if I lighten up the value of their overall shadow, sometimes
it works out better that way.
And that goes through the whole figure. Anywhere in the figure we feel things are just , you know, shadows are too heavy and too
dark, you can always lighten them up and see if that betters the image.
Okay, so as Amy takes a break here,
I'm just going to flatten out the values in
the head again, the ones we put down. It’s a little it easier to work with. And then I’m gonna raise my drawing back to our normal working height and keep going
with the rest of the body.
Okay, so I did put a layer of charcoal over the whole face there
because what I want to do
is really priority to the light on the shoulder and on the hip
closer to us. So by putting a layer of charcoal over the whole thing, I keep the
relationships of values by making everything darker compared to the shoulder.
Otherwise, everything would be kind of jumping out and having a low contrast here at the
same time here and your eye doesn't know where to look first.
So as we're drawing we also want to try to organize the way the person's going
to view the drawing. So you can almost tell them whether you want them to look at
the nose first or at the I dunno the cheek for example or the eye or
when we squint our eyes the impression that we see in nature is that the shoulder is
the first thing you see and the brightest part maybe that has the sharpest contrast against background,
then after we can see maybe the hips and then our eye will come back up
to the head. So again a little bit of organization of values.
Okay, so I'm going to take a little break here and sharpen my charcoal and put
the drawing back up to its sight-size height.
I've been working on in sight-size and now I'm going to go back to my original
viewing spot and just double check the values in the face really fast, comparing it to
the rest of the body.
And then I think for the end of the day here,
I'm going to start working a little more on the standing leg and see if I
can clean up and resolve some of those shapes a bit more.
Okay, so Amy if I can have you turn your head just for a second, just for like
two minutes, then you can go back to how you were.
Okay. So after you spend some time working on one area in particular,
I think it's a good idea just to spend another minute from your viewing spot
just controlling decisions that you made up close.
Okay so for example I feel like the forehead is just a little bit too bright there.
So I’m gonna go across it and
Try to lower its value down a little bit. Don’t wanna mess with the shapes so much but just the value.
Okay get one more time. Just darkening down the eyebrow just a little bit more.
I think that's a little bit too sharp there at the same time.
I’m just gonna put a little bit, try to soften the edge.
Okay gonna take a few seconds to correct a few shapes in the foot.
So again here I’m just trying to clean up the shapes to make more sense of what I’m seeing.
Get through the outline of the lower leg.
I think the back of the calf muscle can come in a little bit steeper through here.
And I can probably - just wanna angle a little bit that I’m missing.
Probably push this out just a little bit here.
I feel like this lighter shape here can have more of like a teardrop shape. I’m gonna jump back down to the foot for one second
I think I can sharpen up the heel here just a little bit.
So we push a bit harder to get a little bit of a sharper line.
It kinda brings it into focus a bit more.
So if you have an area that is supposed to be sharper looking,
you can just kind of sharpen up the edge of the outline.
It might give you what you looking for.
I’m gonna move up to the elbow just for one second. This little shape here is kind of bothering me a
bit. Okay I’m gonna define the shape of the shadow here.
Make that a little sharper, pull out the leg there.
Okay and this half tone business here needs to come out a little bit further that way.
Just don’t have a white line between that. So we look at the edge of the leg here,
it does get a little bit sharper and contrasted just at that point.
So I'm going to try to clean up the outline a little bit and then put
a sharper outline on it.
When I do that I don't put it just the edge but just off the side of it.
Because if I put it just against the - on the edge of the country itself,
it’ll make it a little bit flat.
So that will be great to do up in the shoulder area through here. But we’re trying to
continuously have something looking like it's turning around.
We try to leave a little bit of space between any kind of strong mark making. And again
that's trial and error. So the back of the knee I’m just going to change the value of it, I think it’s getting bit a messy in that
area. So I need to keep this whole shape through here somewhat unified. I can
subdivide and make this darker and keep that the way it is and have it look
lighter. And as I’m going back up the leg through here, I do see some darker lighter and
even lighter areas. So I need to basically go through and organize my values a little bit more.
To push forward. Okay so Amy’s gonna take a break here.
I'm going to continue flattening out my values.
I’m just doing that so I can have a little more of a gradation of this cast shadow
that’s coming away from the body here.
The cast shadow should be strongest next to the object.
And it should get a little more diffused as it goes away.
So I’m just trying to give the sensation of where the floor is actually or how she’s standing on the
floor we can say. You know, what plane is the floor
and where ever I stop is where
the box is basically going up. But around the feet just a little bit it gives
kind of like flat surface to stand on, otherwise
she's basically standing in some weird
atmosphere. And it’s basically just to make the figure look grounded and we do that with the cast
shadow as well as having a darker outline under the foot.
But I find doing something like this, giving an idea of the floor plane and the
back wall or the box, it helps out a bit.
And then we just don’t want to have any strong
contrast there next to her feet so we can kind of just soften that up a little bit.
And again if there's ever anything that distracts you from seeing the figure in your setup, whether it be
a box or a contrast behind you, if it distracts you from seeing the figure then it's
you know you can use your artistic license and just not draw It exactly how it is the better the figure.
When Amy comes back we can
also take a look up here where she's resting arm and see if we
can do anything like in the feet to give it a place
of light around it so you can see if it's resting on something.
Okay, so I’m gonna take a quick break here and sharpen my charcoal.
Okay, so we’re back from a break again.
I'm going to try to focus on the standing leg a little bit and just try
to organize the values and the shapes for next session.
So I’m gonna do that for a few minutes and then. Okay,
so the values here can go together a bit more.
Move out that little half tone shape as well, you see this little kind of triangular shape through here.
Okay, so like I was saying before the back of the knee,
I think the best thing is just try to arrange our values as best we can
there and then tomorrow we can attack the shape designs with a bit more patience. Okay
one thing I noticed is the other side of the knee there needs to go up a bit higher.
I started losing that just a little bit too much in there.
And noticed I’m not working on the values, I’m just correcting the shape.
Okay so let’s work on the bigger values here.
Okay so I’m gonna try to draw out my big shapes and then give them all a value really quick so I
can see this one coming down a little bit. The
back of her leg through here. That half tone that’s up through here cuts across.
Okay so all I'm doing again is just correcting the shapes and then when the shapes are kinda
in place I’ll give them a value or try to readjust them again.
I just feel for myself if I don't have things mapped out just a little bit
then the impression might get better but then when you go to fix the drawing of all the
shapes, then you lose the shape and this is kinda going in circles.
So a little bit too bright over here. I feel like this part needs to get a bit wider through here so push that back. Reestablish the edge there.
Okay so I’m gonna try to unify the back of the knee again, I think it’s getting too all over the place.
Okay so my plan here is actually to go back a step, I’ll find out the overall shape
in terms of this value. And then I think I’ll reestablish the
half tones on top of that.
The half tones meaning the information like these darker shapes that
we have to describe the anatomy on the back there.
Otherwise I feel like I'm just going in circles and not really going to do
anything with it. Sometimes it a bit messy or you’re not focused on it, so then it’s actually better just to leave it in a workable position then walk away
away. And then the next session you have that's what you can focus on.
when you start, when you're fresh.
I think that's what I’m gonna do with that
area there. I’m just going to try to strengthen up the outline of the leg here
a little bit, bring it some clarity.
Okay up on the hip I can go and push the divide between the shadow kinda lost that, it’s
a little bit flat now. Okay, thanks Amy. So we’ll let Amy free for the day.
I’m just gonna take 30 seconds here to think if
there’s anything I want to do before calling it a day.
Flatten the shapes out through here a bit more. Okay, I’m gonna turn it upside down really fast to see if anything else jumps out at me.
Okay so as I’m looking at it upside down,
I'm just thinking to myself that maybe the nose here is just a little bit either
too sharp or too contrasted.
And then I need to definitely go back and rework the edges of the shadows a
lot and also the contour in terms of its sharpness
and its kind of softness. The more variation we kinda get through the figure,
you know, again the more special it all becomes and also the more naturalistic
it looks. If you have the the same edge going everywhere in the figure then
it just becomes a bit cut out again.
Like I said before. Okay,
so I think for today I will leave it like that.
So we'll continue tomorrow.
Hi so welcome back. Today will be our last day working on our project with
Amy. So today I am going to try and resolve the drawing as much as I
can. I'm going to continue on trying to resolve the back of the leg here. Att
the end of the session yesterday I unified everything and kind of flattened it out
so I’d have a better time placing the information again.
I'll spend a few more minutes in the head.
Again just trying to resolve the shapes through here as much as I can
and then I’m gonna start to look at the overall figure as a whole and see what
needs attention. At this point
is it a good idea to go through and try to develop the contours
as much as we can, thinking about edges. Try to integrate the figure as much as we
can into the background. So any areas of the outline that get sharper or softer
to make that we’ll try to really play on to get a bit more of a dimension
with the figure. And after that is really anything that just bothers you.
We just keep going until the last moment.
So I'll get started and not waste any more time.
Okay so I’m gonna try to adjust the big shape of the leg here.
I feel like this can go in a bit more.
Okay I feel as it comes up here this light shape right
now is just a little too parallel.
So I’m gonna try to adjust that shape before I start putting in more smaller shapes inside
of that one. So I think I can get away with opening up the shape on
the contour here, pushing this back ever-so-slightly.
And then on the other side of the leg as well I can try to open up that
shape just ever so little.
Okay so I think also the distance between the back of the knee here in the front
I think that can get just a little bit more narrow. It’s gonna pull that back a little bit.
So I’ll do that that and just redefine it with a slightly darker line.
Okay, so a I step off to the side here a little bit more just trying to see
what's happening on this little corner of the leg here and trying to see which
form goes on top of which one and how you can see that little corner there
from a different angle. And for me,
it just gives me you know
a little bit more formation, you know, which is nice about working from life is that you
can actually move around the figure.
When you’re working from a photograph you’re kind stuck with what you got.
So I said do that
I just know that there's a little bit of a spacing
through here and also a depth of this being closer to us, not being further away.
So as I'm working I can let there be a slight little value here to describe
this being closer to us and that being a little bit further away.
Another thing I’m noticing is that there’s this value here that comes off and it looks like it's going and stopping
over here and I want it to stop a bit higher up.
So with that I’m just going to go and try to lower the value ever
so slightly through this area of the drawing to keep the light stuck up a little
bit higher. This little bend half tone that goes through hero, all the way across almost like this little band go
way across the leg so I’m gonna put hat in as well. Okay I’m going to darken down the top part of that shape through here. I feel
like this is getting a little bit too disconnected through this one.
There’s a little bit too much contrast there.
Again just trying to break the little edges between the shapes.
stronger line on the edge of the shadow
was just to define it just a little bit more.
I think I probably went a little bit overboard with it, so I’m trying to downplay that a little bit more.
Usually in bony areas you get quite a clear, described
shape kinda like where the elbow was for example.
Or the ankle. So just to try to highlight that, you can go through and kinda define the
shape of these areas around the knee. Where it’s
it's almost that extreme but it’s
not quite, with the knee it’s actually better not to
do that as much. So right now in my mind I’m just trying to make up a design or
an organization of shapes to explain this part of the leg here.
Okay once that's done, I'll spend just one more second looking if there's anything else that needs
to be adjusted and then I'll jump back
up to the shoulders and head for one more minute and do a similar thing.
Because this is our last day with Amy,
you know you really don't be afraid to make changes,
but try to be very conscious about what you're doing.
You know, if the head isn't just not working and it’s not in the right position,
you can just actually take a brush and wipe off the entire head and do it
again. But I would have to stay away from making huge changes about like making something
really really light in the background or darker or big value changes unless they're very necessary.
Again, it’s really just to say not to be afraid to make changes,
but then try to make your changes very consciously.
Okay, so I’m gonna take a break here for a second and sharpen some charcoal and
we’ll come right back.
Okay I’m gonna do one more big correction with the leg or the shadow line.
And then we’ll try to resolve the shapes and move on from that area.
So I just noticed I think this whole kind of edge of the shadow can push forward just a little bit.
So I’m just gonna move that really quickly in just one second.
Okay, and also noticing this whole thing could be kind of a block of value through
here. Not a very flat all the same value, but it has something. Okay so just want to take away this weird value
the flowiness under here.
Okay I’m just gonna oversee for a minute here before I start making too many silly decisions.
Again what I'm doing is just thinking about looking in the mirror, thinking about what information is needed
there and what’s not. How do you see it with your eyes squinted, how do all the
values go together, how do they make their shapes?
And then from there I’ll try to make things make sense. So basically what I'm looking at is having
a big value through here, another larger value going through here and a slightly lighter one on the bottom
and then I need to have something in here to describe the separation of these different
shapes. When I squint my eyes all these values almost go together completely so I'm left
with kind of like a unified shape there and then I can hint at the information
in here by drawing a small shape here of the darker shape with -
this is where designing shapes come into place
where is you design it in a way that when this shape ends it kind of direct
your attention down to here.
And then you can even have a very slight
angle at the bottom or a very slightly darker line to catch that.
And then from your viewing point
it makes a huge impact. Up close
it probably looks like absolutely nothing.
But it's really that kind of stuff that helps to refine the drawing.
It's being very minimal and the amount of information that you're using.
But on the other hand,
it gives you a lot more because the human eye actually doesn’t see that much detail,
when you look at the whole image, when you focus on it for sure.
So that’s another thing to think about is the amount of information we’re able to capture with
our medium. With paint we have a little bit more room, a little bit more value of color and paint
texture and all this kind of stuff.
With drawing the values are very compressed, we have very - much fewer values play with. So it's all
about being very economical with your decision making.
And that’s a great thing to look at master drawings or people or painters, even sculptors
that you like, see how they resolved it because they're doing that as well. You just don’t notice it maybe as much.
Or they do it so well you're convinced
it’s not missing anything.
And to me that makes a master drawing really . Okay so I'm gonna lower down the value shape through here just
a little bit more.
Okay lean in the back of the calf
or whatever you are going to call up there that line.
Just to make sure that values stay quite flat so they’re easier to read.
Okay and through here I’m just letting the light kind of pass-through.
Just underneath here it looks just a bit messy.
Keep trying to clean that up a little bit more. I mean it’s probably just because the value is getting a little bit ununified.
So I’ll just kind of push these values back together and I’ll come back with the eraser.
Okay, so Amy’s on break now.
I'm not going to do so much more.
Just kind of finish up what I was doing.
Okay, so let’s unify this little shape here and I'm going to take a break as well.
Okay so I’m gonna take a little break here and sharpen some charcoal. Okay,
so we’re back from break. I’m gonna try to finish up with the back of the
knee now. Spend one or two more minutes on there.
Realistically maybe 5 or 10.
Okay I think that shape is too dark now with the other values so I’m just going to push that back. Okay I’m also gonna lower the value of this shape
too, it's a little too bright.
Again not so much to be, just going back and forth, you know, readjusting things here
and there and make sure things read well.
You know, I kind of have larger shapes I’m trying to focus on.
And then slightly smaller shapes and then even smaller ones and I’m just trying to make sure they all work
together and they all do their job.
And for me that just takes a lot of time going back and forth.
Every time I go up to the drawing thinking like
okay, I need to correct that one little area that looks a little bit too dark or when
the shapes off and I'll step back,
see how it's going and maybe it didn't go as much as it should have.
So then you go back and try to maybe do a little bit more. Then maybe I go too far.
And then I have to undo what I did.
So that's why sometimes I go without saying anything for a while.
So that's what I'm thinking about.
I just want this light shape to stop and go back up there
too. Okay, so let’s get this little highlight shape under control, that’s been bugging me for a
while. Okay so I’m gonna take that whole kind of highlight shape and darken it ever so slightly. Again I’m just trying to flatten out the
values so it doesn’t - the cleaner it is the easier it will be. So I think the value is better now. Just to make sure I can
integrate it, if it gets patchy or you have these weird little dots, just kind of fill them in until everything kind of cleans itself up.
So I think I’m going to give that leg rest for second here.
Try to get some areas that are a little bit softer and sharper going on.
Okay so as Amy takes a break here, just going to clean up anything that looks a bit off.
And if I start to lose shapes I can just kinda of touch the edge of them and
that will redefine them without darkening or lightening them. Okay so I'll take a break and sharpen some charcoal.
Hi, so we’re back from break now.
I was thinking about actually taking one of these.
I've been using a brush here kind of as a mahl stick to brace my hand
as I'm working so I don't start to take off the charcoal from the drawing and
I also thought that maybe I take a little piece of the kneaded eraser and stick
it at the end of a brush and what I can do it with
that is it will give me a little bit more distance as I’m drawing or correcting the
drawing. So instead of having to be up close and brace my hand,
I can actually stand back a bit further and actually see what I'm doing it from
erasing or even trying to redefine shapes.
So I'm going to give this a try as well and see how that works for
for me. So I’m gonna leave that here at my little table, whenever I need it I'll pick
it up and continue on. Okay so I’m gonna continue off now trying to work on the contour
a bit of the figure, kind of on both sides as we go along, but also
take into more consideration the edges of the figure, edges of the body.
Okay, so if we can - Amy can we have you turn your back a little bit less?
Yeah, that looks about good. Then the other thing is with the arm.
Can I ask you to turn your shoulders just a little bit less, a little bit back? Yep.
That's better. Okay, that's good.
Thank you. Okay so if anything jumps out, I'm going to correct those first. I can see
that there's still a little bit too much space between the edge of the shadow and the edge of the
body there. So I’m just going to try to redefine that.
This over here is actually where the front of the hips go. They’re just kind of -they’re in the shadow there so you don’t
see them as much. We have a slightly darker shadow just behind them.
So there we can probably take advantage of that attempt to make it slightly
darker value here to kind of express
that information. Okay so I don't want to have any light values between here and there. If I’m making this
a bit too dark then I can just go back and lighten it and everything will go back to being a
bit more unified. So in the case right now
It's still in the quite of a simplified form there. It has to kind of angle in a
little bit more. So once I get the shape a bit better I can go back and clean everything
up. So it’s a little bit more of a scoop.
You see how here’s that seventh cervical vertebrae there and then it kinda scoops in from there. As you get up to this
area the edge also gets a little bit softer. The values get a little bit closer. Okay so I just want to make sure all the values are kind of flat.
Okay so I’m gonna flip the drawing over again really fast and take a look at it.
Okay just a couple of small things to do to look at. I find that maybe this little
corner here is a little bit too
pinched, meaning that from a distance this value is getting a little bit too close to
the shadow value so I’m just gonna touch that a little bit with the H charcoal. Basically just to soften that or push that away from getting too close to shadow edge.
And hold on to that shape that’s going to go through here a little bit more.
I’m gonna spend just one second as well, just going to clean up that stuff
that I just did in that area.
Again the intention here is not to change shape, it’s just to kind of make the
shapes that I have there just a little bit cleaner and clearer.
And then I can compare them again with the model.
Okay and I’m going to just try to flatten out the value of the neck as well. And I know it needs to be little bit more of a half tone value going around here.
I know that here as well the edge is going to have to be a little bit softer.
for this to go in the front and that to gobehind. Sometimes it’s actually good just
to, like if you know,
that has to become a softer Eege just make it that way and then
when the figure stands back up,
you can adjust the shape or exactly how close but if you’re having trouble doing it when
the model’s posing you might as well just make it soft and then refine it
with, you know, by relating it to the model and seeing exactly how it works.
Okay so I’m going to have a little break here and sharpen some charcoal.
So we’re back from break now.
I'm going to continue on
In the upper body. I flipped my drawing back back over.
Okay now I’m just gonna jump around a little bit through the face and then down through the body looking
at the edges and contours.
Okay I’m going to give a little bit of value to the edge of the nose there
otherwise it just looks very very flat.
Okay and also myself and all the edges through here look kinda the same.
So if I am able to keep some of the shadows a bit stronger,
but then also the edges so the edge is a bit stronger and soften some other
ones it might work just a little bit better.
Okay so I think finally with the elbow I'm going to move this part of the shadow shape back a little bit more.
I’ve seen this for a long time,
but then it hasn’t been there for a while.
So you know as we’re starting to say this is going to be our last day with Amy
it’s better just to move things into position that works and call it a day.
So I'm just going to use that over
just a little bit more
and just kinda going to reconnect that shape with the arm.
So I’m just erasing the background
trying to get the hands in a better position.
Okay so let’s have a little break for a few minutes.
So I’m just going to give myself and Amy a break for a minute just to kinda gather my
thoughts. And then we’ll continue.
I'm going to continue on trying to refine the outline of the figure a bit more
on both side. So as I’m going along,
I'll be thinking about what's happening through here
and also on the outside.
I still to resolve a little bit of what's happening here on the shadow side
of the arm and with the hand.
But I think now is a good moment to actually refine my big shape of the body
on the outside, not worrying so much about small half tone shapes on the inside of the
figure yet. I will go back to them.
But I think it's really going and
kind of just passing over the entire new outline of shapes again.
And try to pull those together at the same time.
Okay, so I'm going to start by observing from a distance and then I'll come closer
again once I start getting into it.
Okay so I’m just gonna adjust the neck really quickly because I see it now.
Okay I’m gonna pull it a little bit more.
So back from our break now.
I’m just gonna grab my stuff. Okay
so some things that I saw on the break.
So let's say as we're working now,
we want to keep thinking about how things look in our drawing.
So if we find areas that are maybe like this, which don't make sense from a
distance, we have to ask ourself what is that?
The next person seeing it will probably do the same.
So those are also areas that we need to take into consideration as we're trying to
finish up. Before I go back here.
I'm going to go down the whole body once, back through the head very quickly.
And then I'll come back to this outline of the art one more time,
which I think this needs a little bit of work at the bottom as far as how
it reads. And then we also need some kind of edge work here,
which there’s a little bit too much contrast now between the background and the arm.
Okay, so let me get started with that.
Okay, so just starting out again
I think the elbow there needs to get a little bit softer, it’s a little bit too cut out
looking right now, okay, and maybe a little bit too square.
So another thing that’s happening through here Is that we have the legs overlapping and when they overlap
the back leg here has to
be more out of focus or lost in order to let the leg
that’s the standing leg to go out in front of it. If they both both have the same line
it puts them in the same level of space so we want to also explain that there’s depth there.
So another way to achieve that as well
is by when we over lap this leg showing it's in front,
the other one has to be somewhat lost into the background.
Just where they meet. And that will help us to create the illusion
that one is in front of the other.
Okay so it looks a bit weird. Let’s try to redo that one.
So what I’m trying to do is a little bit less contrast. Every time I put a line down it's just a little too dark, it kind of exaggerates.
Okay so I got to adjust the shape just a little bit more and the shadow can merge with the background as well.
Okay so the parts in the back of the calf muscle I see that are sharper to me at
least is probably just this part through here.
So making a sharp edge sometimes doesn’t actually mean, you know, putting the charcoal on and making, you know, an
outline. It could also be done by having the eraser and doing it from the other
side. Okay, sp as we get down to the foot I just want to clean up the shape there
ever so slightly, nothing crazy. Okay so last thing the foot is that little lighter value
here is just a little bit too bright, so bring that down.
So another thing we do sometimes is we can take a brush,
if it’s not one you care about we can actually sharpen it to like a pencil point,
we can use that as a way of blending or - blending is a bad word to use - softening
transitions and what not, but what it does is it just kinda pushes the charcoal on the paper.
Just enough to kind of blur an edge that needs to be blurred, which by going back and
forth with the travel stages takes a long time.
So areas that need maybe to be
a little bit softer, but you can’t achieve that with a sharpened charcoal,
you can basically use a brush, the
wooden part of the back and it does a pretty good job.
a lot of the time. You’re basically just pushing the charcoal back and forth until it softens up just a
little bit. So again I use that for myself in a lot of areas that
need to be softened that
it’s hard to do with the charcoal,
so maybe that would even work for us in the background here,
you know, in a way to kind of soften or even sharpen up things in the
background for that matter. If you do it hard enough
Io might also give us that.
So anything that we're having trouble with softening and
it's not working with the charcoal stick, you can give the brush a try.
Okay, so for now I’m going to take my drawing and flip it upside down quickly and then
see how things look. Okay,
so as I have it upside down I still see a bit of patchiness in the face,
in the cheek area through here.
And I think we needed a more a little more choppiness and structure in this part of the
forehead and the eye. So I think that will be the thing I work on first when I come back.
I think the way that, you know, from the feet up through here,
I think those are working pretty good.
I’d also like to pend a minute here and see if we can get any more
clear shapes out of that area.
But let's have a last break and we’ll come back and continue.
Took a little bit of time just to look at the drawing during our break and you know
think about some things. We’re gonna have a couple more sessions here before.
we finish. So now all I really want to do is start fixing things that kinda jump
out and bother me. So things I need to go and work on will be again like
just this outline of the leg here.
The part where in the shadow of the hand and the forearm.
I need just to kind of unify and clean up the the face a little bit more.
And then once I get that, then I could be kind of more relaxed about things
and I can spend time doing - working on areas of the drawing that I feel I
can improve that don't necessarily need to be improved.
Okay so I’ll go back to my view point and we’ll get started.
Okay so for the knee, I think we can actually simplify the front of the knee just to have
a simpler shape. It has to
start by going out a little bit here.
Okay and the we can almost just simplify it with a straight line to the top of
it. So again with the brush I’m just pushing around the charcoal on the surface, almost like painting
In a way. Just to try to help form the shape any better if I can.
Okay so here on the forehead I want to try to get this transition a little better.
Okay I’m going to get the little
light that’s on her cheek there,
they're just getting a little bit too strong.
And then I want to make sure the values here
don't become too similar to that one at the same time.
Try to bring out the shoulder a little bit more. Okay and then through here just after that strong contrast, try to push that all together
a little bit more so the
attention doesn’t have to go between two things about being a sharp part.
And also the contrast on the outline so if we dim the contrasting outline,
they’ll look even stronger. Okay like I was saying before, I think on the outline
of the arm there, which for me it’s quite hard to see just because almost no contrast,
So if anything I need to make sure this line or this edge,
sorry, isn't over contrasted or overstated.
And at the same time just make sure that the value stays unified.
Okay and actually try to sign flatten this value up with the brush. See if that changes anything
You know without Amy there as well, we can a little bit of stuff, at least to kinda
get the edges going again.
You know something looks a little bit kind of - if you know
it should be soft and it’s sharper
you can kind of set it up.
Or again just unify your values more and more.
So as I look here on her shoulder,
you know, my eye keeps getting distracted by this here.
So what that tells me that something here is got to soften up or have less
contrast. I think that will be the last thing I do today once Amy gets down and finishes is go back
and feel and fix those little
spots in the background I keep touching.
And also here too, looks like it’s a darker value before this one so
don't know if I can do anything.
Because I want it to stay there,
but I don't want to be
leading my eye, I kinda want my eye to go back a little bit over here.
Again all these things I'm doing now is what on the break
or when she’s posing I kinda look at it think about it,
but if I don't have enough time to do it when she’s posing.
I can do it on a break.
Especially as we start to finish up here.
We can do these things without her posing.
Okay, so I'm going to take a little break here for one second and sharpen some charcoal.
I think I'll try to work in this area now.
And try to resolve that a little bit more.
And then I think I’ll probably try to jump in through here and just going to
resolve this area a little bit more of the lower back.
Okay. So as you see through here I think I’ve gone
just a little too dark or too similar to the background, so we’re losing
the front of the stomach here.
So my two options are you either lightening it up a little bit
or trying to darken the background. So we can try both of those.
All we really need to do is have a slightly clearer outline through here. So if we can do it by
darkening the background great and if not,
then we will make the stomach area just a little bit lighter.
And I can try to reshape her forearm and her hands or hand as well. Okay.
So I see now that this is going a little too far, it should actually come into
about here. It might be even better to just ignore the hand because there’s so little of
the hand that it actually doesn’t really add to the add to the readability
of the arm, it’s always going to look a little bit funny.
So what we can try to do is just get the shape of its forearm there. Kinda come down to a point.
And then once we get that then we'll call that part of it done.
Just trying to flatten the tone on the arm. Okay,
so I can see if I can clarify some half tone shapes again.
Again just trying to unify the little value there, have some little dots kinda jumping out in there.
Just trying to make that shape in the back there a little bit clearer if it’s possible.
Again so not really changing anything.
Just try to - it's basically just playing cleanup.
If you happen to see something that needs to be changed go for it.
Okay again so in this area during I really want to lose that line at the bottom
of the ear. There's no edge there, if we can soften this up just
a little bit that would be nice. Again just trying to soften up edges through there.
Okay so I’m gonna take the drawing and flip it upside down again for one second.
You know another thing I do is when I flip it upside down, I can actually look at it in the
mirror upside down. Well in the mirror upside down - I can flip it back up the right way in the mirror.
You know we’re always so used to seeing the image upside down in the mirror that when you
flip it and it's the right way up,
it is the same thing, it just takes you a moment to figure out
what you're looking at and that gives you the time to see if anything jumps out
at you. So I’m gonna take a little break and sharpen charcoal.
Okay, so we’re back from out break now.
I'm going to keep jumping around the drawings just looking for things to adjust.
Not too much of a special order now.
Again just go with whatever kind of jumps at you.
I think one thing I needs to kind of resolve more is this shape of light that's on
her thigh. So maybe they'll be the first thing I start with and then we'll see
what we want to do from there.
Okay, so all I'm doing now is trying to refine the shape just a little bit more.
And we’ll just give it a better value, better edge and then leave that guy alone. Okay so I’m gonna try to lighten
up the light between the legs. So Im gonna tip my charcoal thing and a little bit -
my eraser and a little bit of charcoal I should say and then I'm going to try to just lighten up that shape
down through here just a little bit more. Okay now that I did that
I’m just gonna come up, look at the drawing of the outline of the leg here a little bit more. Just kind of clean that up.
Try to get rid of any differences inside the shadow here.
Okay I’m gonna try to get rid of this darker patch in the center of
that plane, that shape. Okay so what we get now is this little
just like kind of connection through here
through the lower back hip area. Just try to get those, see if I can connect them any better.
Feel like this can be a little bit longer.
So again just kind of circling around. This kind of looks weird.
I’ll just take a little mental note of that and then when she gets back up I’ll check it. Okay,
so this will be - this next session will be our last session so I’m gonna take a break and
sharpen my charcoal and get ready for that.
Okay, so we’re back from break.
So this will be our last pose with Amy.
Our last session. So again,
the things that I will start working on is I feel that both of the elbows
will need one more second of attention to make this look any more bony if possible
and just to clean up the corner here.
I like to unify this darker shape in the hair.
And then I think I’ll work just in this area and on this line for the remainder of the
time and try to make it more descriptive if I can.
Okay so here we go. Okay, so on her left elbow, the one that’s resting top of the chair,
I'm just going to try to clean up that shape a little bit.
I don’t want to start introducing too much more information or values or anything else.
Just try to keep it where it is. Just making sure it’s not distracting from anything else.
Same thing with this little jump in the outline through here.
Okay so up here with the shape of the hair. So I wanna unify that just a little bit more.
I know that the hair shape is different now than what we had.
I just want to make it try to read as if you know it is in the shadow here.
So basically just trying to flatten out that shape, try to make that a little more specific without changing it too much.
I feel like there’s a little white line here underneath the other arm, just there, take that away.
Okay so I want this to be a little bit more subtle and that can bring out a little bit more.
Again just trying to keep all the shapes flat through
here. Okay and now I’m really just jumping around,
I don’t really have any game plan now.
I just need to be careful now I
don't start opening up a box of worms and change too many things and then run
out of time to integrate them or resolve them.
So there I’m just to make a lighter shape.
And the thing that I’m finding is every time I try to correct the shape I
make it too light just because I'm not being patient enough with how much pressure I
put on the eraser. So if I make these shapes too light it’s fine,
I can just go and trace that shape
with a darker value or fill it in is probably a better way to say it.
Okay, so that's it for us here.
I’d like to say thank you to Amy for doing such a great job. Thanks Amy.
And so this is as far as we were able to go with the time
we are given with this project.
Normally when we're doing a longer project like this it goes
anywhere between 3 to 6 weeks long.
That’s working 5 days a week for 3 hours a day,
and it just gives you time to really think about all your choices, refine
them and whatnot. But so here before I really finish,
I'm just going to take a few moments here and just kind of work on the background
a little bit more, getting rid of some of these little things.
But thank you very much for joining me on this project.
I hope it is useful to you and hopefully we'll see you again in the future.
Watch the whole lesson with a subscription
44m 41s1. Long Pose Project Overview, Lighting Set-Up, Choosing a Pose, Blocking In the Figure
36m 2s2. Developing the Contour and Introducing the Shadow Shapes
34m 53s3. Wrapping up the Shadow Shape, Connecting Everything Together
36m 34s4. Working on the Outline and Adding Values to the Shadows
30m 51s5. Working on Shadow Values and Putting in a Background Value
38m 4s6. Correcting the Outline
18m 38s7. Reconfirming Positions of the Shapes
28m 37s8. Improving the Outline, the Shadow Shapes, and the Light Shape, Introducing Mid-Tone Values
31m 9s9. Adjusting the Background Value and Putting in Larger Values inside the Light Shape
19m 48s10. Introducing Halftones and Darkening the Shadows and the Background
28m 2s11. Working on the Middle Area of the Figure and Getting Through the Whole Body
32m 48s12. Getting the Background to its True Value and Adjusting its Relationships with Halftone Values
31m 43s13. Working on the Lower Legs and Going Up the Body
28m 24s14. Working on the Halftones and Bringing the Background to a Unified Value
29m 57s15. Continuing Working on the Values, Flipping Over the Drawing
32m 53s16. Bringing the Contrast Up, Refining the Shapes and the Values Throughout the Whole Drawing
45m 57s17. Organizing and Refining the Values
41m 29s18. Unifying the Values
30m 48s19. Modeling a Form and Refining the Whole Drawing
29m 5s20. Clarifying Shapes in the Knee and Lower Leg Area and Working on the Portrait
28m 6s21. Comparing the Values on the Face and on the Body, Working on the Standing Leg
28m 34s22. Correcting the Shadow Line on the Standing Leg, Resolving the Shapes
31m 48s23. Refining the Outline of the Figure and Resolving the Shapes
19m 1s24. Cleaning and Finishing Up the Drawing