- Lesson details
In this lesson, you will learn to draw a full-valued ﬁgure. Along with the instructor, you will go all the way from lighting set-up and choosing a
model’s pose to deﬁning and organizing shadow and halftone values.
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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next, which will be is slightly larger figure drawing in charcoal. The idea with this project
is to take it as far as we can, try to introduce the values, and rendering a
form. This time we’ll be doing a bit larger, we’ll be working on an Arches watercolor paper trying to get the figure as big as we can
to the limit of the paper.
And let's get started. So I’d like to welcome in Amy who will be our
model for this time. So when working at home,
we spend a lot of time working in our studios with very specific lighting conditions.
We try to have one light source,
which illuminates the figure, which is very clear light and shadow shapes. So we can
see here with Amy that we have set up the light coming from one
direction slightly form a high view. What we're going for is a unified light shape of the
body and also very unified shadow shape on the body.
We have Amy posing in a contrapposto,
which means that she has the weight balancing on one leg,
which offers a bit more rhythm through the figure.
So another thing that I do a lot when when choosing a pose is the big
impression of the pose. I do a thing when I squint my eyes and get the
overall impression of the pose and usually when you squint your eyes,
If you can still make sense out of what you're seeing
that means the pose is going to work in terms of this values. If you squint your eyes
and you can't really make out what you're seeing,
then you should probably try to wiggle things around a bit more until it becomes a
clear image. Okay. So with that said let's get started.
So I'll be working in sight-size
so I'm going to stand in a fixed position away from the model.
My feet are marked on the floor.
And before I even start drawing, I just take maybe one minute just to look at
the model, try to make some mental notes to myself about how she’s standing, where is
the weight being distributed, any big shapes
they can make out already before I start drawing.
I think I do is with all any project that I actually start.
So when I'm looking at her, I try thinking about
any big angles that you can see.
So there is a long angle going from the back of her butt all the way
down to her heel. Okay, on the other side of her body on the front of
her leg we can make one going up
through the shoulder,
down the arm, and then we can cut in a little bit here and on the
back including the head. So these are things that I'm thinking about in my mind before
I start drawing. Okay, so what I'm going to be using now
for my tools will be one mirror.
This is basically your best friend now so always have it on you. If you don’t,
think about getting one. You can find one on Facebook.
We have a plumb line.
Okay, this will be used to make any vertical relationships in the pose.
Okay. It just has the simplest ring with the weight at the bottom and is our truth
in our drawing tool set that we need to use.
Okay. Charcoal and one kneaded eraser. So one more quick thing before we start
when you're setting up at home
it’s important that you're in the middle between the model and your paper. Okay, if you’re too
far off to one side versus the other, you have a little bit of distortion when
you're measuring. Okay, so for where I am standing now, the camera angles will be a little
bit obstructed so so you can't see exactly what I'm seeing.
Okay it’s very very similar,
but not exactly the same.
Okay so to begin with in sight-size,
the first thing I’m going to do is to get my extremes. So I’m going to do a
measurement on the top of her head and top of the head down to the feet and
then going to take a couple on the inside of her body just get myself a
reference as I begin the block in. So from my fixed position,
I can either use my plumb line to do this,
I close one eye always while drawing,
extend my arms out until they’re locked, and I try to relate the bottom of her foot onto
my paper. Now with memory you do this game where you walk up,
I make an indication on my paper,
and then I walk back to my viewing spot and I double check my choice.
I find that’s good. Then without moving my head I just raise my arms,
and again try to get the top of her head,
remember where that's going to go
and I make a mark.
Okay. Double check it again.
Okay, So if I find those two marks are good,
I can go forward with the drawing. If I find that they’re a bit misplaced then I would
like to spend a few more minutes here
and get those into a better position.
I find that mine are are pretty good.
So other things that I would like to mark off on the figure while beginning is
always the feet, the top of the head.
Okay, And then maybe one or two marks in the the middle.
So maybe I go for either where the - her bottom is there or even the farthest
point out in her hips.
Just some kind of reference point to get me started.
I should also mention every time you step out of your position
you might want to recheck the top and the bottom again,
just to make sure your head is still fixed in the right position.
Otherwise every other measurement will be off and once those are done
then you can go through the figure and start to take more marks on your paper.
And take your time with this, this takes a bit of time.
The more you practice this the faster it gets just like anything else.
Always try and get in the habit of making my new correctional mark before erasing the
old one. Otherwise, you'll put it back in the same place. Just a little bit more down.
So these marks are for the top of the head. Okay,
To the shoulders, top of the shoulders. One is for this little point of the hip which
is the furthest point out.
Okay, and then we have the line of the feet again.
So I put these marked down as close as I get them. The model will move
so they’re not - those points will move up and down or over ever so slightly
but it helps me when I make my first lines
I have an idea of the heights of different points of the body.
So the other thing with my plumb line,
that I use it for
will be its vertical. Truth we can say. Now
this is very useful when you're beginning and even when you're more advanced just to help you
relate large parts of the body from the feet to the head.
So when I do this I try to find one place on the body,
which would be a good place to start my vertical line from, which will probably be
from the back of the heel. Her feet will be marked on the ground
they’re always the back of the same position.
Sometimes people start with maybe the pit of the neck or somewhere in the head but
the head is freely moving, it can go forward and backwards.
So it's not as stable as we like it to be. So by starting from the
back of the heel we know we can always get in the back in the same place
and also this is where all of our weight is being carried.
So by starting there it's a pretty secure place for us to plant our plumb line.
Okay. So we have the plumb line in our hand. Right now
I'm just making decision where it looks good.
So if I go from the back of her heel,
it goes right through her armpit that we see and up to the side of her face,
which I think is a great position.
So I'll come to my paper
and I’ll just say okay.
I want to put the plumb line here.
Okay. I'm also able to take this plumb line and get myself a vertical line on my
paper as a reference. You can also use a,
Ruler if you like
So choosing my position for the plumb line.
I find that anchoring it or starting it from the back of her heel and her
standing leg which is the leg in front is a great place to do that. By closing
one eye I can see how the back of her heel and leg relate to er armpit and
just behind the eye on her head.
So this is very useful in controlling the movement of the model if the model is
relaxing into more - with more gesture in the pose you’re able to see how the body
is moving and really just to keep control over the movements and know which ones to move in
your drawing.. Okay, so I can even plant those marks on the paper now.
I try not to make too many marks on my paper at the beginning.
I find that it just makes you feel a bit more stiff when you're drawing.
Okay. So once I have this information on my paper,
I'm just going to put the plumb line down for a minute or two.
Okay just make these lines a bit clearer
I’m going to pick up my mirror
and I'm going to try to begin the drawing with the longest, straightest inclinations that
I can find. At this point the drawing,
you might also change those lines for other ones
once you start getting into it if you find a better way of simplifying them.
So because I know that her heel’s in the back of the plumb line I can
start there. I can start to
make a line for her foot.
Every mark that I make I want to come back to my viewing point.
All the drawing is done from this fixed position on the ground here.
So now I want to try to get the longest straightest lines
I can. You can really start with anywhere in the body.
But since we know the feet are in a secure place,
we can start there. I find it really helpful to even drawn the model.
So what I'm doing is sticking my arm out,
closing one eye and I'm tracing the lines
Of the outside of the body.
Okay. I can even take the side of my charcoal, flip it like this, and
move it across. And what I'm really going after are these longer inclinations going up
through here on the other side going up through there.
Okay. If you go all the way up to your hip you can see again from the beginning that we
can go back up her arm.
Okay, so that's why I'm trying to go after now.
Okay they’re also can going to be really rough lines, they are not going to be the final ones but I just need
to get the whole image down on my paper.
One thing - another thing I like to mention is that when we start the drawing we’re concerned with the
outside shape of the figure.
So we want to try to make that into a simple shape before going inside the figure.
At the beginning it’s going to look a little bit abstract.
But once we connect all the lines and get the big shape down it will start to represent
more of what we're seeing.
So as I’m putting all these marks down
I'm continually changing my decision on them.
This should be a very flexible stage in the drawing.
Okay, so Amy’s going to take a little break.
And while she's taking a break
I'm going to clean up a couple of lines.
I think it's really great
whenever you - the model’s taking a break that you just spend one more second with your
drawing and try to refine and clarify any of the lines that you’ve made before a
little bit messy. Okay so we’re gonna take a little break and we’ll be back in a sec.
Okay we just had a short break and we’ll get back to it.
I find it's always nice to have a break and it gives you a chance to rest
your eyes. Think about where you are in your project.
And think about what the next step will be.
So as Amy's getting back into pose,
I can already see that I need to work on the width of her hips and
finishing to connect all my lines for my block in, so in the session it’d be great
to get all that taken care of.
Okay. It's like I said in the beginning, every time that she takes a pose it’s going
to be almost exactly the same, there’ll be some slight differences.
But the idea right now for the beginning is to keep things flexible and if something
improves in the way she stands, now is the time to make those adjustments and Incorporations.
So when she starts out,
I'm going to grab my plumb line.
Again, starting from the back of her heel on her standing foot we can go up
and just get an idea of how things are going.
Okay, so if I'm there, I see that her armpit has moved forward a little bit.
So I'm going to move her, the point that I have her armpit here over and
then redraw my line.
The nice thing about drawing in straight lines
Is they’re very easy to move around the drawing.
Okay, so now I need to conclude the front of her
hips and legs there. So now I can see that going down from her armpit.
Just to her elbow is good. Gonna put another line here.
So the other thing you might have noticed is that I'm drawing with my arm.
I'm not doing with my wrist making smaller lines. When you’re drawing with your whole shoulder and
arm you can make very long lines that go the length of a paper and have
them be quite straight. So now that I have some lines on my paper,
I can start to take some width measurements to get my widths more under control.
I prefer to have lines on my paper before taking any width measurements.
Tthe reason for that is it just helps me to already visualize where the lines
need to move to, if I'm moving just points on the paper
it's a little bit too abstract to see,
So to measure I need to make sure that I'm in the proper position.
I can also use the mirror to do the same as the plumb line for sight-
size by putting it up to my face and closing one eye and I can translate
the image across my drawing just for the heights of the figure.
By doing this I’m making sure that my head is in the correct position.
Now without moving I can extend my arm out until it's locked at the elbow, close one eye
so I can take my finger and try to put the charcoal between the end of
one part of the body to the other one now,
you just move it simple across the drawing and see where the measurement is off.
One more thing when measuring, it's always good to think about the gesture of the pose.
Okay, if the gesture of the pose is favoring and now we're moving like this
and I find my figure is too wide, the more I take away from this point and
start pushing it back this way, the more vertical she's going to stand.
So I always want toI try to favor this inclination going out like this and was
almost like this kinda curve. So if I measure and I find that the distance from the back to
the front here here a little bit too wide, I’m gonna try to take away more from
the back side than the front side.
So one more time I'll make sure that I'm in sight-size correctly.
Lock my arm, take the measurement.
Okay, again remembering where that point is on the paper.
And I simply move my lines that I created in the beginning over.
And then take away the old ones.
And it’s never good enough to do it
once, we usually do at least twice.
I’m gonna connect the back line.
Now I’m just going around the figure, anything I noticed I can improve I'm going to try and do that so
I noticed that now the upper arm
on my drawing is a little too wide so I need to go and make sure the distance from
here to there is a little bit thinner.
I can find that the height of the knee
is somewhere down here so it’s a little bit lower than where I first placed it.
So I’m gonna extend my line here. Going a little bit lower and moving this up.
And another thing to keep in mind is every time you move one line you need to double check that
it doesn't affect the one next to it.
So I just moved her shoulder a little bit more to our left as we see it.
I also need to make sure that I move her, the front of her face, the line
that represents the front of her face, back as well.
This is also quite a slow process, it takes some time.
So the better you get this stage,
the easier the drawing will be to carry through.
So just take your time,
be patient. Another thing to think about is everyone's choices will be slightly different with the lines
that they choose. So maybe at home
you’ll choose to simplify the head in a different way.
And that's completely fine. The idea is to get a big simple shape and you can start
to push around the drawing until everything locks into place.
So here's an example of one mass or one line on one side
of the body. Just be sure that you go around to the other side and see if
it's affected. So there I moved her elbow down a little bit on the chair and I
also first saw the elbows as a unit
so that we have one elbow going across to the other one in case. Okay so we can
get a shape that goes out of here up to her shoulders,
okay, over the neck, and back down again.
Okay so here I’m going to try to push your hips forward a little bit.
So you take the back in.
I noticed that I had to show up in the armpit was a little bit high
so I can adjust that.
And this line will just represent
the forearm and the hand is going down the body just to remember that it's there.
So the idea is trying to keep everything as simple as you can for as long
as we can because there always comes a point where the straight lines maybe need to
be broken down one more time
so it gets a the little bit closer to what you're seeing.
The idea is the closer it gets to nature, the more you see mistakes.
But if you make too many mistakes too quickly
it’s just a lot more work to fix. So by keeping it simple,
it helps with that but now for example on the upper body is to me is making sense
but then from the hips down, I need to give a little bit more information by adding more lines
to make it a little bit closer to what I’m seeing. So to start with that,
I will start from the standing leg and try to get that a little bit
closer. So same idea. You can scroll through and start to put down a few lines
and then move them around. I usually try to work from side to side.
So what that means is that for every line that I put down on
one side of her body, down through here,
I jump across to this side and go up and try to put me on the
other side of it. That helps me keep my vision on the whole figure rather than just
up one side and then up another side.
So again, just no pressure, put down a few lines, try to get something that represents
the big abstract shape that you're seeing.
I think another thing to note is that I'm still looking at both legs as one leg.
I'm not separating them yet.
That keeps - it forces me to stay with this idea of big shapes, big lines.
I will try to keep the lines quite clear if I can so every time I'm
making a line I’m trying to clean it up
before I move on. Okay.
So again, I'm going to take one more second here before stopping to take a break
and just clean up my lines.
I think it's always good when you're trying to clean up your work before taking your
break. It just helps you to redefine your ideas,
your thoughts. Even if they’re wrong,
it's always better to have clear raw mistakes than trying to hide them with
other things. Okay, I'm going to take a little break and I'll see you in
a second. So we’re back. So at this point I have the outline connected
through the figure. So when Amy gets back in position the first thing you want to double-check with
having fresh eyes will be any proportions that jump out to me.
Then again every time I try to fix my proportion,
I always try to think about what's going to benefit the gesture of the pose as well.
So I just take a minute and think before running up to the paper and changing anything
at then. Okay, so some things are jumping out to me now or is
is the abstract shape of the legs I feel to be a little bit narrower true
through the front of the leg to the back of the leg here.
I also feel that they can be a little bit less width between the front of
her hips towards the back here.
So those are the first things we are going to adjust.
So if I take my charcoal stick which is quite straight, not perfectly, and I put
overlap the figure with it resting against the outside edge of her lower leg
I can capture that angle and also make a note if I draw that line longer than it actually is in
nature, where would it go through the body and end?
So if I do that I find that If I was going to extend this line,
if I knew - to that own nature,
it should come almost to her heel and mine’s coming a little short of that.
So with that I can actually move it back just a little bit.
And also going to add on this little space for her other heel
back there. Okay so I think I’m going to push her - the back of her leg to our right.
And then just close off the line here.
Again, just noticing that her chin’s a little bit over her shoulder,
so I’ll push that back. And the next thing that’s happening is that here
we have the side of the jaw here and the back of her head kind
of line up at an angle if you see that. So that's also something we want to be able to
keep - to take into consideration.
is that anything that connects in a way like that,
I want to try to make sure that they're always having that same relationship.
So from this point to the back of her head
there they should be connecting.
So if I move the back of the head now
I also want to think about what's happening
to this part of the body here.
Chop off a little bit of the back of the head get the abstract shape of the head a little bit closer to
what I'm seeing. I found this can come back just a little bit more.
Not a lot, but just a little.
Okay I find that the line here for the back of the calf can come down a little more,
making that point to the calf end a little bit lower.
I can also probably straighten up this ankle, it’s a little bit too inclined.
This might seem a little bit unnecessary,
but the more you practice this, the more you pick up on these subtleties, small inclinations here
and there that you can definitely do later on in the drawing as well.
But the sooner you can catch them and correct them, the better. So like I said before
it, it becomes a point for
getting pretty close to where they should be. When you find yourself looking at your drawing
and not knowing what more to move, everything looks like it's going well,
then you want to add just a little more information
to play around with. Okay,
so things I might add would be either adding in the spine as I see it.
It could be dividing or adding more angle breaks in the legs.
The idea again is anything that doesn't need to be broken down you leave the way it
is. If something's too abstract looking then you want to make it a bit closer to what
you're seeing. So internal information usually is where we're going to go next.
So maybe finding the back of the knees would be a good thing.
So I can kind of indicate where that little crease is in the back of the knee there and
I can use either the plumb line,
holding it out horizontally to help me find where that point will be.
Or I can do again the same with the mirror.
Okay so I find I can get a little bit higher.
And again I’m just putting down lines to represent, for example, the spine here.
Okay so I end up putting down a line first and then I can go back in after like I say and chase
the line or cut it off wherever it needs to go
with the eraser. I find it much more helpful to put down something and then play
around with it and move it around on the paper rather than trying to imagine how
it could look if it wasn't there.
And as you start doing things you’re gonna shift other outlines around to
work together with the internal information. And every time I make correction,
I want to walk back to my view spot,
just to double-check it from a distance.
It's always easier to see
from a distance, which is probably one of the nicest things about working using sight-size is that it forces you
to stand back and look at your work from a distance.
So again, I haven't done any work on the portrait yet just because I am not 100 percent sure about
its position yet. So I really hold off on going too much deeper into the head
before I know where it’s gonna sit on top of everything.
I don't think it's going to shift
a ton. But I try to hold off on that usually usually anywhere where it’s very complicated.
Hold off on it until I’m sure of its position. Okay,
so we're going to have another little break.
I'm going to take a five minute break to refresh my eyes and then get a
fresh look when we come back.
Okay during this next session
I'd like to get to a point where I can start to introduce some of the
shadow shapes in the figure.
A lot of times we draw the internal information using the line of the shadow, which l’ll
show you in just a moment, rather than drawing
lots of small lines to indicate internal information. Internal information is just anything inside
the contour lines that I’ve drawn in the figure.
And like always before I do that,
I want to make sure there's no big changes to make. There will always be small
adjustments until the last moment.
So basically when I'm doing this, I’m just standing in my viewing spot, looking back and
forth between my drawing and the model.
And just looking if there’s anything that jumps out to me. If there's a proportion
it looks like she's standing
convincingly or she's falling over.
And if nothing jumps out then we can go ahead.
It's always good to give yourself just a minute to check that out.
Okay, so as I’m seeing,
I need to drop her bent knee and also the height of the shoulders and the armpit
down just a lil bit more.
I also haven't sharpened my charcoal yet.
I find that when you're starting out it’s actually better to have
slightly thicker lines that you can erase with the eraser to make them
more specific rather than starting with a paper thin line that is hard to see from
a distance. And it's not as flexible as you would probably want it to be.
So I tend to use the eraser quite a lot when trying to shape the outline of the
figure. Amy can I ask you to turn just a little bit your shoulders to the right - sorry the other
direction. So whenever you’re working with a live model it’s always
okay to ask them - or to correct them I should say, as long as you’re polite. And sometimes it's
actually better just let them do their thing.
Eventually they find kinda like this happy spot, they’ll relax into it and hold
a bit better. Okay. So I think now what I’m going to do is start to introduce the
the shadow line into the drawing.
When I do this again,
I'll put down my plumb line just so I have less things to think about.
So some main ideas that you want to get across with the shadow line
are you don't want to put the edge of the shadow down in too complicated in a
way, which means the same intention we give to the outline, keeping everything for a simple and blocky,
we are going to do the same thing with the shadow line.
If you're not sure what exactly the shadow line would be,
what we're thinking about is just the the line where the light ends,
okay, and the darkness begins. Just that meeting edge.
So when we're adding the shadow line into our drawing,
we can see this better by squinting our eyes.
When we squint our eyes,
it eliminates all of the unnecessary details in the figure
and allows us to see just a large shape of light and the large shape of
shadow. What we're really after is just that dividing line between the two big fields of
light and shadow. So you can start anywhere that catches your attention.
Again searching for the biggest shapes possible.
You can apply the shadow line with a slightly thicker line.
Just for the reason that it's easier to correct with the eraser.
Right now I'm only drawing one line
but in my mind what I'm thinking about is the shape of light that’s created on
her leg. I also use the mirror in this way looking upside down.
And what I see right now is both the figure and my drawing in the mirror
turned upside down. And what this allows me to do is be more objective to the
shapes that I'm creating. And what it really does is just makes you think about the drawing in
a different way just for a second.
It's almost like stopping working for 5 minutes and having a fresh eye.
I find it very very helpful.
So the spine here I actually wouldn't consider a shadow shaper per say.
Bit it’s quite a dominant, important landmark so I - in those situations I just draw it with the line to
have as a reference. I try not to draw it as dark or
strong as the other lines. Okay, so now my main concern is to close off the shape of light.
So to do that, I'm trying to connect the line of shadow all the way through
the figure. So the places that I find there's to open will be the elbow,
on our right side as we see it, and there I am just I'm thinking to
myself about how to do that in a simple way without breaking the line too many
times. So what I’ll do is put down something to close the shape.
And then I'll go back and refine it again as I'm going so
if this is the edge of your elbow it comes down
and then it comes back something like this.
And it may be hard to see but there is a - we’re seeing the edge of the
shadow here on the edge of her arm going right into the background.
So the edge of the shadow and the background are almost the same thing at the moment.
So that outline that I have there will represent
the line in the shadow. We can draw in our forearm.
Take away the hand for just
one moment. Okay, so we’ll have a little break and when we come back
we'll continue drawing the form.
Welcome back. So after this break I'm going to continue on with finishing up the the drawing of
the shadow line and refine the outline together with that.
So once I get everything closed off and going, then I'll be able to refine
the outline and the line of the shadow together and hopefully lock in the drawing into
place. Okay. So again just flicking my eyes back and forth between the drawing and the
model. Just seeing if there's anything that jumps out to me now at the beginning.
Really quickly I’m just going to close the elbow that was working on just a second
ago. I’m gonna actually extend that line a little bit higher.
Try to leave a little bit of space between both of those lines to create
a shape. So this can come in a little bit more here.
I’m gonna draw the shape of her armpit up here. I noticed this line here
can come out just a little bit higher and then it can go in towards your arm.
And I’ll connect her arm. Okay I’m noticing that I made the spacing between the legs - between the shape of the legs a
little too narrow. I’m gonna make that just a little bit wider, which also help me to lower down
that front knee just a little bit more, which will be nice.
Make that a little bit clearer.
So again just looking in the mirror upside down, looking at long inclinations
and shapes. So the bottom of the point of the scapula here can also come
down just a little bit more than what I have, which will also increase this back line.
A little bit more. Okay, just looking at this little triangular shape that we have
in the back of the neck to the front.
And I’d like to get a better idea where that hair intersects the neck, so I can do that with using
the mirror. And I find that mine can come down just a bit more so.
I can lower this line down, extend that line on top.
Take away the old ones.
On the figure, wherever you can overlap any lines -
so if we say that the back of the neck comes over the shoulders like this
a little bit, it's always nice to do.
So now I'm going to move back down towards the hips and try to refine those shapes
a little bit more. So I can see that this line here can come back this
way just a little bit more.
Here just a little bit further.
Just double-checking the height of the knee - the back of the knee.
I feel like that can come just a little bit as well.
So now I feel like on the standing leg,
the leg that she has her weight on,
I think I can develop the shadow shape just under her knee there.
So I'll start in here. Again erasing anything I don't really need, it just gives me
less to look at in the drawing and keeps me focused on what I need to be
observing. It's always a good habit to
try to resolve an area a little bit before moving away from it.
So if I can already see a correction,
it's always best to try to make that correction in the moment,
rather than knowing is there and coming back for it
later. Okay, so noticing a shape also comes over the hip, through here, which lines up
with this line so this one can come up a little bit higher.
As it comes out through here. And that can also move down.
This line for the top of the shape here,
giving it just a little more room.
I can push the shadow shape of the shin back a little bit more
so it meets the ankle in a better spot.
It's very tempting to actually go and put a value in for that shadow
mass. Best practice not to do that yet that
will be the next the next step. For now
it's much easier just to keep thinking in lines.
And when we need to, we can put a value in just to see better the
shapes that we’re creating. So here again trying to separate
the light and shadow inside the thigh. Clean up the shape just a little bit inside.
Can go just up just little bit more to the point here.
Amy can you turn your right shoulder a little bit more to the right if you can. So the other direction. Thanks, that’s perfect.
Okay, I'm just looking again at the lower leg.
Just comparing the shape of light that I have on my drawing compared to the model.
I found I can incline the line
I have here of the back of the leg, I can incline it just a little bit more
as it comes into the heel.
Which will help me to explain the line for the heel itself.
Okay I can lower this point just a little bit more.
Okay, so now I'm just checking
for example the height of the nose. I'm thinking about just beginning with the face
now. I'm trying to do the same with a face that I have the rest of
the body. Which is just trying to separate the light and shadow from each other.
So before I do that again,
just making sure other parts around the head are in a good enough position to do that.
Okay, so when we're working with head I think of it exactly the same way as
the rest of the body.
Meaning that I don't think of it as being a face of someone, I just think
about it as being a leg or elbow.
I think we do that we have a better chance of getting to work together so
I’m gonna start off with actually drawing the separation of the face against the hair.
Most of the time we draw portraits
it’s actually the shape of the face that gives a likeness much more than the eyes or
nose. So the lines actually there is an indication of where I can see the hair
separated from the face. If I continue it down a little bit lower,
it should come very close to this point here of where the back of the head
meets the neck. So I can draw the shadow line of the neck as it meets the jaw.
Can draw the line as we see it,
which is just the edge of the shadow that’s there.
Okay the front of the neck go a bit further forward.
And what I'm going after here is actually not the contour the neck, which if we get
closer we can actually see it being somewhere over here,
But I'm really just going for the shadow shape of the neck.
The reason for that is because visually when we squint we can't see it. And if we
can't see it that means we shouldn't draw it right now.
Just gonna angle this line a little bit more. Little indication of where the corner of the jaw is. Okay,
so I’m gonna start with the biggest shapes.
So start with just putting down a few lines
for the forehead and the corner of the eye there.
I can start to draw the light shape of the nose.
Maybe can move back through the
nose little bit more.
Give just a little bit more of an angle to that line there, which is representing
basically the eye that we see in shadow.
Okay so once the model stops posing to take a break,
it's always a good idea not to do any big changes to the drawing without the
model being there for you to compare to. So
let's have a little break and we’ll be back in a second.
Welcome back. So again in this session just continue on with what you were doing before.
I think I'll begin again with working on the head and trying to
close off all of the shadow shapes in the head before moving throughout the figure again.
Again just keeping in mind trying to keep things as simple as possible and also to
be very open to to moving things around into changing things. Okay,
just double-checking and I find I can drop the nose down.
So this line here is representing the bottom of the nose and that can come down
just a little bit further than where I had it.
I'm really just going after that little triangle shape a light
that's on her nose. Okay next I want to go for
the corner of the eye and just try to mark its placement
roughly. And always come back to your view spot and
double check your thoughts. Next I'll be going for the shadow shape that’s on her cheek.
Okay, and the bottom of it is just below the nose, it almost lines up with the
bottom of the nose. And if you have trouble seeing what shape to go after, try
squinting your eyes, and if you still can't see it
sometimes it's actually good to walk up towards the model
to where your easel is and just look for one moment to see what you're actually seeing.
And then we walk back to our
view point and we can try to interpret again from here with our
The next move is going to join the upper lip,
which is in shadow. So we’ll draw the top edge of the upper lip and we can
see also the shadow turning at the corner of the mouth.
So I can try to give a little bit more space for the top lip to
Okay, and now we have options.
Because we're drawing a life figure
we get different options when they move their head in certain directions or their mouth, it
creates different shapes. So it's your job to also choose the shape that best describes that
area. So right now there's light on her chin,
which I think is quite nice.
So I'm going to try to go for that.
Which means going across and then stopping there and now that I've done that it might
be easier to see the the chin and the lips and as a unit if it's
all one bigger shape right now rather than having two or three smaller shapes to push
around. On the forehead I'm going to try to draw the cast shadow from her hair.
And then try to draw the shape of the hair a little bit better,
meaning I'm also going to take away this vertical line now,
which I don't need anymore.
I can always put it back if I need to so in that case I can
leave on the top and the bottom a little indication. So if I get very lost
and I need to restructure something,
I know I can always put it back.
Going to lower that shape for the eye down just a little bit more.
I'm also going to shorten the distance in the back of her head
just a little bit more
so that we have the highest point of the head
just above the ear there.
Now is a good time to actually place the ear. It gives us a better idea
of the tilt of the head together with the nose.
So first I'm just going to again place down a few lines, just an idea of
how it looks when I put it on there
and then start correcting it. I'm going to jump back to her forehead now.
And change the inclination for her forehead.
I can erase my old line,
which is just a rough guideline of the beginning.
Okay so now I’m just feeling like the head can get a little bit bigger.
So before making any drastic change,
I was going to take a second to think about how I can make it bigger.
Okay, so then I'm going to lower the chin just a little bit to start with.
And then move my shapes to fit that.
Okay, so now I think what I'll do is go back down towards legs and start
to work my way back up the figure again.
As I’m doing that again I'm really searching for
any large shapes to change or - and also add any information that I feel will
be helpful. Information also could be just adding another line to break a longer line on
the shadow or on the contour or just changing the position to one that already exists.
Okay, so I can see the top of the foot I can lower down just a
little bit. And the inclination of the top as well.
We can take a look at the toes for one moment and see how they end.
If they end horizontally to us
or do they have little bit of inclination.
So we can see the tip of the toes kinda go back into space just a little
bit through there. So when I squint my eyes,
I don't see the back foot yet.
So I'm still leaving that out.
I could always go and just indicate it roughly with line, a very light line.
But if that becomes distracting, it’s almost better.
If you leave it away for a moment.
So I’m just gonna slowly work my way up through the figure from the from the bottom up.
It really doesn't matter where you begin, wherever you feel most confident.
Okay, we'll have a little break and then we'll be right 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.
but again like I said before that
I think we can - or I can - benefit from a few more minutes
of just going around the contour of the whole figure and working on breaking that down a bit
more. This is also a stage of the drawing that really shouldn't be rushed. If there’s anything
big to fix now it's better to spend as much time needed to do this.
It's a lot easer to do with fewer lines when you have a lot of values
to push around. It's not impossible.
But it takes a bit longer.
Okay so I’m gonna continue with the elbow.
Can move this line down a little bit more so it shoots more into the ending point of the elbow.
As I’m doing that I'm also going to lighten the back line here.
Just so it doesn't compete with the edge of the shadow.
Connect the lines here. Maybe enforce the line of the shadow.
Again lighting up the line just a little bit as it goes over her neck.
Again the contour line can get lightened up until the edge of the shadow there.
And the elbow again or the elbow area will go down a bit more.
Okay I’m just gonna clarify the lines a bit more there, they look a bit fuzzy from a distance.
If these lines overlap feel free let them overlap.
So what I’m doing now is I’m trying to figure out on her hip area
where this little point is in there. So again coming up closer sometimes and just looking
of how it’s seeing up close.
And step back to see how it looks from a distance as well.
What I’m doing is representing the whole area that straight line and eventually has to be broken up because
right here we’re trying to explain two planes. One that’s going out and the other one that
drops down. But from a distance they represent or they seem like a straight
line. Move this line in a little bit more.
And the other thing I pulled out front of the standing leg back a little bit more into the knee at the same
time. And also this line here representing the first thing you need to pull back at the
same time. I'm still undecided about this little light shape that’s here between her legs.
Maybe for now I'll probably actually lose it and then it comes back again
I'll put it back in.
So it's easier to see things as bigger shapes rather than smaller ones.
Again, lightning the line that’s between the legs in the shadow,
just so they stay more unified and they group together.
Are we going to go across it.
It keeps the inclination but it just makes it a bit fuzzier and lighter.
Okay. I'm going to draw just below the nose,
give an indication for that part of the mouth. The back the shape of the nose,
nostril. Again keeping it quite simple.
And if it doesn't make sense to do that now,
you don't have to, that's not that important.
So here's the beginning of the neck in the back.
If it helps you, you can also draw the scapula as well.
I always find if I don't need to draw it
then I don't. Just going to take a little bit of this line.
And I'm telling you. Begin playing back to front of the saying like just a little
bit more as it goes into the knee.
Trying to get the line a little bit lighter so doesn't compete with the other
side. Okay and the foot we can give just a couple angle breaks as well.
If I'm coming down like a little bit like that.
Going forward to the toes. I think the nation and have their in general can get not -
less inclined. It can be a little bit straighter. So this little indication I made here can actually come back a little bit more.
Needs to be the roughly around here. A little bit more off the front here. Can draw - if I follow that arm across her
body. It's roughly where the hands are going to be.
Strengthening the angle there a little bit. Okay so just realized I can probably move up the shadow shape here
a little bit higher and that's what's causing all the elongation.
Okay we’ll take a five-minute break and when we come back
we'll continue moving the shadow shape. Okay, so we're back.
I’d like to continue just working out the area around the hips.
Making sure all my shadow shapes are closed and then maybe we can do some value.
That’s my plan for this next 20 minutes.
Okay, so like I said before I’m gonna raise that shadow shape up under
here just a little bit. So if I spend more than 30 seconds I’m staying here
here for too long and that's when I start forgetting what I was actually coming here
to do. So if that ever happens it’s always good to stop and just walk back.
So this line can come up just a little bit higher. Or is it just a little bit more. I think that's good
enough for now. I can shorten this shape here.
I'm going to change the angle of the leg here as well.
These kinds of movements as well
I can also make when I put a background on my drawing, which will come a little bit
later. But again, if you can move things around now
it's better. So I think I’ll leave out.
The bit of light that was between her knees.
And keep that as one larger shape.
Okay what I was doing now was
just seeing how that the head lines up with the back of a body.
And see if I need to make any adjustments there.
Okay so I think I’ll just sketch in with the scapula is just to have a line between
that's under the body there, just to kind of judge the distances.
Okay, I think I’m just about ready to put in the value for the shadows.
I always put in an indication of the lower lip just so I remember
that there’s something there. Maybe quite a small shape anyways. I’m gonna do that one more time.
I think I can raise the jaw line up just a little bit.
I’d rather there’s just a little bit too much space at the bottom there.
This line I’m drawing now is indicating the edge of the shadow.
It's not the outline of the jaw. So I think what I'm going to end up doing is just
putting in some indication of a light shape for her lower lip.
And then I’ll refine it once I put a value in.
I think the last shadow shape that I’m missing is the shadow shape for the ear.
Which again you can just put down a simple shape and then we'll correct it further when
we put down a value. I know that her - the arm resting in the chair is
a little bit further back in my drawing. They move forward just a little
bit but that one I can move around
once I put the background on, I can really decide where that one’s going to go.
The main lines I'm trying to keep clear in the figure are the ones going up
to her armpit that connects down with her hip and the other one on the back
through here. If I need to I can move this little triangular shape around
as I'm working. I’m gonna extend this line out a little bit further. I find it comes over the knee a little bit more.
So you can see the small the back which can push by spine a little bit more. Maybe this has a bit more of
an angle to it. Okay,
so now I'm going to put in a little bit of a value for the shadow.
The value that that I want to put in is going to be something similar to
the value of the line.
The value meaning how dark the tone that I put on
the paper will be. I’m just cleaning up this line just a little bit. So there's no perfect way to do this.
This is something that you know,
if you want at home,
you can practice just on the side of your paper.
Just practice making a unified value.
Okay. I usually do it by resting my hand on the paper itself so I
can control how much weight I'm putting onto the charcoal and pushing down on the paper.
It almost has no wight, the charcoal just rests on the paper and paper is
eating away that are closed as I’m going along.
And the idea is that you end up with a very unified value on your paper.
We want to try to avoid
making any differences inside of this value that we put down so we don't want
to have dark and light patches inside, the more unified
a value can be a really helps you quite a lot.
Okay, so far this make sure you have a sharpened piece of charcoal and we can
do this almost without the model being there.
And all we doing is really filling in the empty spaces similar in value to the
line itself. And for now,
we're going to fill in just the shapes in shadow that we have mapped out on our drawing.
The direction that you put the charcoal on at this point does not matter at all.
Again, the important thing to think about now is just having a unified value or tone
for all your shadows, so they're all the same from top to bottom.
And you can move your arm around
any which way to make that happen that’s more comfortable.
The reason why we're not going for a very dark value at the beginning is because
it’s too much contrast with the white paper and it becomes very distracting and as you'll
see later in the drawing the darker you get, the less you can actually erase the
lines. So at this point in the drawing what we're trying to do is make the
errors - or the shapes we can say - a bit clearer to your eye. And our eye sees
a lot with contrast. So I’ll give it just a little bit of contrast, nothing too much.
Okay, again, you can change the directions.
I try not to go back and forth on on the paper like this, this creates
sometimes quite an uneven tone. So it's almost like making hatching lines.
As long as you keep them unified, from a distance they look very very flat.
So here I'm going over the contour of the standing leg because everything inside of a
shadow has no information. The shadows are empty
all the way till the end.
So what that means is that every shadow that you have will have the same
tone and if there's a line in between, inside of a shadow shape we can say,
you can actually erase the line or let the line disappear into this mass of value.
So Amy's going to take a little break now.
I'm going to continue for one more moment here to finish up filling in my shadow
shape for the drawing. It's always a good thing
if the model is taking a break.
This is busy work that you can do and not waste any model time.
So again going back through, trying not to make it very dark,
but just trying to make it as flat as a value as you can.
If you end up making a value that goes over this line of the shadow line,
that's completely fine. We can just go back and erase it.
Again, any lines that are darker then the shadow
we also try to put them at the same value. So we can take our eraser,
we can shape it to a little point.
I find that this shape works better, something like this
if you were if you make it to around little point,
this little tip of it just goes around
is not strong enough to actually corrected the drawing and erase the line.
So I really favor making that kind of wedge shape
to the eraser. And just try to make everything look like one big flat shape if
you can for now. Also stepping back and taking a more of a distant
view from it also helps a bit.
Okay, so I think I'm going to let this sit until she stands back up.
It's always really important not to make any changes when the model’s not posing.
The only thing we’re really able to do now is just continue on if you want,
trying to make this value as flat as possible all the way up to the edge.
You don't want to leave any spaces between the line of the shadow and anything inside
the shadow. So if we have that we can go ahead and just touch just the part to make
it as unified and flat as possible.
Okay, so I'll take a little break and we'll get back in a second.
Okay, now we're back. So it's nice after you put in this value for the shadow -
we’ll call it values rather than going back and forth between tone and value. It gets a little
bit maybe confusing. So after we have this unified flat value for the shadow,
it allows us to see the shape of the shadow and also the light shape a
bit clearer. Nothing exciting is going to happen yet, it’s back to the same thing as we're
doing before but now we have the extra helping hand of the shadow value.
That’ll give us a little bit more contrast
and hopefully help us to pull together the shapes just a little bit more.
The next step will be putting in a background to isolate the light shape.
We'll talk about that when we get there.
So again now that we have this value there, it’s almost like having fresh eyes. So I’m going to take
one moment looking in the mirror and just seeing if there's anything that jumps out to me.
Just gonna make a little adjustment to the line here.
Lift that up just a little bit more. And just going to bring in the outline
Here a little bit more I think it’s taking away too much.
Lift this line up a little bit more then we can actually go down with the other one.
If you look where this point is from that point, this one can drop down ever so slightly.
And we can make that shape just a little bit narrower and also get a little bit
closer and move my head around just to see how that shape really is.
And this should match up a bit closer to where this is here, so we’ll move it to
about there and erase
the other part of it all the way down
this shape a little bit more. When we're working with
a shape that has value on it, when we need to move the shape what
we're really trying to do is just add on more of a value
to the light side of the shape.
So by doing that just by adding on a little bit more value here,
we can move that shape back and forth.
So if we need to make this distance smaller, we can add on more value
here creating a smaller shape through here.
Again, the main idea with this value is not to change the value, it’s just to
move it around. And you do your best of course.
When you're starting out, just getting a handling
of the material is something on itself.
So I’m just making this shape go in and out of it more
underneath her arm. I can see the shadow
stopping a little bit higher so
I'm going to raise the shadow up as well.
Give the elbow a slightly darker line on the outside
just so it stands out a bit more.
If we look down towards her ankles, raise a little bit of the line there,
We can actually see the front of her shin in view so we can kind
of slightly strengten that line.
I can erase the value that I have on top and push that back a little bit as well, creating smaller
shapes. And I’m also gonna draw her heel poking up behind the other one. Sometimes you can actually draw
the line through here and just imagine where the line’s gonna be behind the other one.
And again just put down something to work with.
You can come back and observe it from a distance and then go back and make
any corrections that you might need.
You can raise that up a little bit higher and make sure that the bottom of the foot touches
the ground. That creates the space in the drawing.
And don't worry if the paper looks dirty right now from all the erasing.
As you start to use more and more values,
all those lines will disappear.
I’m gonna adjust the shape of the hand in the shadow near her elbow. I find that the shape actually needs
to go that way a little bit more. And that's a good example of of an area that's in shadow.
So there will be eventually a hand there,
but for the moment that’s secondary to the bigness of the shadow and light shape so
we can just leave that as one big unit for right now and not worry about
it until later. So again I just move around the drawing, whatever calls my attention,
I go for. Whatever calls your attention to drawing
is what you should be working on.
Just keep remembering the bigger parts of it, trying to get caught up in any small
places or shapes. Okay, I'm going to redesign or reshape the light that's inside of her
thigh. I find it looks a bit nicer now, explains things a bit nicer.
So I use my eraser now that I have a value on my paper and I can
just erase out that shape.
Almost as if you were painting,
you can just erase out the charcoal
to recreate the shape that you're saying.
But as I do that I also need to strengthen the edge of that shape,
otherwise it has no clear ending point.
So as you go back through again with your charcoal,
you can try to recreate that value
or something slightly darker just at the edge so you can make that shape a little bit
clearer. It's still very flexible.
You can move the shape.
But the main idea is you want to be able to see that shape from where you're
standing. If you can't then you're not going to be able to draw it.
And you see going back and forth
any little change that you can see can be
adjusted. I’m gonna move the back of the knee up a little bit higher. This little line here.
Okay, as I get closer I'm just looking at her hips again.
Just trying to see what is actually shadow.
and what's not. This area that we have here on her hip we can classify or
we can call that being a part of the shadow family for now
because when you squint your eyes,
it still exists. At the end is actually going to become a half tone.
So what I'm asking myself right now is how do I see?
that area. So as I get up closer,
I can see that the hip actually comes and connects like this.
So you can either play with this shape through here or you can continue working with
this as being a bigger shape.
I just want to point out that there's two options there.
Okay, again, here there’s going to slight change in the shadow so we can start to
show that. As as we start to really define
or correct the shadow line, we can also make just the edge of the shadow
a little bit darker than the value that we put down.
And I will help one, clarify the shadow, but it will also help us to slowly get an
idea of how the light’s hitting the figure.
So as we do that,
we try not to make any strong value changes. Everything you need to stay quite unified,
but just a little bit stronger than what's inside the shadow
itself, so this is what we consider the core shadow or the shadow shape
and the shadow line. If the shadow value get messy at all,
you can always take your eraser back to that shape we were talking about earlier, which is kinda like
wedge shape and with very little pressure you can go back and just lift off many of
the darker spots that you don't want to have there.
Or you can use your charcoal to go back and fill in
the gaps. This is only really necessary when things get just a little bit messy.
One shoulder just incline this line a little bit more. It looks a little too straight, it
should be a little bit more of an angle like that.
Okay we’ll have a five minute break,
but when we come back,
we'll work on continuing resolving the shadow shape and hopefully putting some background.
So we’ll see you then.
for a session or so.
I'm going to just keep going with that same
thing for a little while longer,
I think. Until I feel like I'm not really seeing anything new and when that happens
then I'll put in a background value
and play around again with the drawing of the light shape of the figure. Okay,
so in the back of the thigh there,
this line here I feel I can raise up a bit higher.
I can take away the old line, it’s gonna be just a little more length for the back of the knee.
Okay I can also raise up is this little shadow shape the back the shin just a little bit higher.
This one here, just a little bit fuller.
Okay, I'm going on the hips I’m gonna push this little
this piece of the shape forward a little bit more. I feel like
that's going a little too far back.
I think it’s got to end somewhere around here.
I’m gonna move this end of the shadow in a little bit more as well.
It needs to change direction about here.
Just changing the way this line ends ends, it ends at a little bit of a direction like that. So we can also see on the spine we have this part ending around
here. What I'm going to do is try to see where that relates to the front.
Eventually I will have a shape through here connecting the two of them.
So now with this is almost imagine how things would go
through here if you can.
At least that helps me with my drawing. I fell like that little line I made can go just a
little higher. This is almost like taking a note or an indication of things that will come.
But usually if you can't find a good place for it, it’s actually better to leave
it out. If you have too many lines in the wrong place,
it just makes a little bit - makes everything a little bit more confusing.
Adjust this angle here. Okay back of the elbow I can swing in a little bit more. If I do
that I can actually push back the other side of it.
So I can take this line and move it back a little bit more too. Again this angle is taking me into the elbow again so I don't want
to - want to make sure every time I move it I’m not
ruining that relationship. You can shorten this distance from here to here.
Okay, I think I’m gonna lower the armpit in the shoulders a little bit more. There’s
a little bit more of an inclination going
through here, which I’m noticing now,
which could help the gesture.
So if I move that down ever so slightly. In the armpit. Again, it’s
not any real significant move. It’s when I get the idea that her shoulders have some kind of
inclination from this position. Okay,
so as I sketch out the scapula before, it needs to be little bit further forward.
It’s meeting up with the spine
or the back of the neck there a little bit too evenly. So I can push that forward just a little bit more.
Okay also on the back, I can give it a little bit more. There’s a point here where the lines
can go out too and end again.
So, it’s not so straight.
It will help a little bit with the rhythm as well. I’m gonna move the scapula on our left side just a little
more to, I feel like that's going a little bit too far away.
Okay, I think now what I’m gonna do is actually start with the background just to
give myself a fresh - my eyes a fresh look at the light shape of the body.
So to do that it’s going to be the same as we were doing with the shadow.
Okay the idea is to make the shadow - or sorry the background that we put around the whole
figure at the same time
through here - we want to have that be the same value as our shadows.
So what happens in the end is that the shape of light that we have
going through the figure becomes isolated.
So I'll start doing that now, on the break we can continue and make it a
bit nicer. Okay, so now that we’re on a break, we can take advantage of that
time while the model is taking a break to work on our background. The background, at
least the first time you put it on,
we don't necessarily need the model to be posing.
So when we're working to take advantage of our time, to save the model time,
we can start by putting our first layer on the background through the whole paper.
So when we’re doing that, it’s the same as when we're doing the value for the shadow.
We're going to try to make a very similar value for the shadow
in the background and what that will do it was it will allow only this piece
of light on the figure to stand out.
So to do that
I’ve sharpened a few pieces of charcoal.
Okay, I'm still using the green charcoal, the soft one, for the beginning.
We can also use the medium hardness charcoal, the red one,
but I find that the B works,
it’s a bit more forgiving. So again using your arm, trying to create a flat tone
through the whole drawing. You can start anywhere
you would like, it doesn't make any difference.
If you end up going over your lines,
don't worry, we can just erase them.
It's better to have the back and go over the line rather than creating a halo
around the figure. That's maybe the worst thing you could possibly do.
Another thing I do is I try to start from the outside and work in towards the
figure. If I start just next to the figure,
I'll end up leaving and I'll end up leaving a space between the background and the
contour line. Again I change direction with my hand,
whatever is more comfortable for you to put on the paper.
I should also say once your charcoal gets a get dull you should switch with a new one. If we
make it really smooth unified foundation for the background It will be easier to continue for the
drawing. If we make a lot of, let’s say, darker and lighter areas as we try
to build on top of this value,
these will just get further and further away from each other.
So we try to make it as unified as we can.
And I’ve seen of people when they're doing their drawings leave the white paper
underneath the foot and by doing that we're not isolating the light shape on the
foot. So again, remember to go all the way around the figure.
So as you might have noticed, when we're working on the background,
especially on the shadow side of the figure, we end up losing what appears to be
losing the drawing of the contour line of the figure.
The idea behind this is that of course,
we never want to lose anything completely until the very end.
We can always redefine our line as we’re darkening our background.
So for example, if I'm starting a background in this area of the drawing, first I need
to make them the same value.
So I'll put down a value.
So now when I stand back from my drawing,
the line is starting to disappear.
So I have two options: one option is I can simply let it disappear and I can always
find it again because the light shape is drawn correctly on the drawing and I can
just place it on the line again
as I see it in relationship to the light shape.
The second thing we can do is make a slightly darker line again on top of
the outline just to keep our outline visible the whole time. Because we have a black background,
which is a little bit darker than the actual value of this leg, there always be
a slight difference in value here.
The reason that we make them the same at the beginning is because we want our
eyes only to see this shape of light that’s through the figure.
If we create contrast here as well as here,
our eye is seeing two different things at the same moment
and it jumps back and forth a little bit too much.
So as part of the process,
we eliminate any distracting information on the shadow side of the pose and we keep
everything focused on just this light shape
through the figure and we try to better this light shape the entire time.
The other thing this is doing for us is it’s setting up a hierarchy of values.
So what that means is just grouping together all the brighter values against the darker value
again. This stage of the drawing is quite important.
It just helps us to really define again the light shape of the figure.
But it’s completely up to you.
If you feel that you are more secure having a slightly darker outline along the figure,
feel free to do that. If you're feeling a bit more courageous, you can just let go of the
outline and we can find it again later in the drawing process.
So it’s good to send back every now and then, just make sure that you're not
making a mess. So that charcoal already is not sharp enough to continue.
So I'll switch. Okay, so any areas that we go over that line with a background,
we can just simply clean up the eraser.
So for the moment, I'm going to continue just very quickly around the outside so we
can isolate the figure in this kind of grayish
environment. Okay, so I'm going to quickly go across this side of the paper just to eliminate
the white. Here because this is not that critical but it's a very carefully put
down we can go a little bit faster.
So now I’m just going to take one moment to make sure everything looks unified from where I'm standing.
That's why this is also a good idea to do when you're taking a break so you
don't have to be rushed with the model standing there.
So I’ll just clean up any of my lines again now that we have background.
I'm also, if I can,
try to incorporate the value of the line into the background,
which means is making them the same. Same value.
Sorry. Because another benefit of the background is that now when we are drawing we have
just one value against another one, which creates this edge through here. Now,
we can be more specific with the drawing because we don't have any thickness of a
line to deal with. Again,
try to keep it as unified as you can, don't stress if you can't.
Another side note is that up close the drawing is always going to look a little bit scratchy.
The idea is that when you're standing in your viewing point the drawing pulls together.
So again, if the background or the values in your figure don't look perfect up close, when
you stand away if they do then you're just fine.
Okay, if I make something too dark,
I can go back with my eraser and lightly
erase it to lighten up the value.
And I really just want to take care of - I’m working along the edge of the figure
and the outer part of the background.
It doesn't make that much of a difference right now.
So in areas like this we can actually just go right through the shadow shape,
all the way to the edge of the light.
So for me I think the background is good enough to have the figure here come
back. We'll take a quick break and we’ll continue.
Okay, so we're going to get back to it.
We just put our background,
a light value for the background, very similar to the value of the shadow.
So now we’re going to work with our background.
There's also when we’re drawing,
we have two mirrors that we use.
We have a white mirror,
which is just your normal clear mirror.
And then we also have a black mirror. The black mirror is basically a piece of glass that
welders use in their helmets or their masks. What this does for us is it compresses
the values in nature.
So what this all means is that it gives us same effect as if we're squinting
our eyes at the figure.
So now that we have a background in, I'm going to continue to redefine the
the outline and also the edge of the shadow.
So this is what we're going to call the light shape. And the light shape is our
best friend. So we need to work with it and try to get that as accurate
as we can. As you're moving around the light shape, feel free to also adjust
the contour of the figure in the shadow side,
but really try to favor the shape of light first before moving the other side around.
So now that we have a background, most all the lines are eliminated from the drawing.
We just have the value of the background against the paper,
which creates this big light shape. And again through this contrast of having a background,
it makes drawing errors jump out a little bit more but it also gives us a
closer impression to what we're seeing in life.
And this is the goal, is to slowly move closer and closer to what we're seeing.
Okay so again I’m gonna jump around the figure, just moving anything around that I feel needs to be adjusted. As I’m doing this
we will give one more thing to think about which is the edge quality
of the shadow and the outline.
So now as we're working on those areas, if we see an outline
of the contours for example against the shadow here near the armpit, it has quite a lot of
contrast and it’s also a relatively clear and sharp line compared to an area that we would
find along the side of the hips or even in the edge of the body here.
So we start to - if we start to mimic these
I don't want to say effects, the impression a bit more
it'll be a bit easier to see how everything is going.
So as I'm making these adjustments,
I'm also thinking about how dark or how sharp, how much contrast every
edge of a shadow or contour has. And by doing this it also starts to create
eventually a sense of depth in the drawing. So again I’m not drawing a line between these
two different shapes. You can if you'd like to, if it helps you to see better
you can definitely extend your lines out and try to connect the arm.
But again, for the sake of keeping the shape of light unified,
I'm going to leave the line away from myself for now.
I think I’m gonna shave off a little bit of space here. So to do that again,
just bring your background closer to the figure and you can move things around a lot
faster now. It's very similar to as if you were painting.
So here I'm just trying to make the outline a bit clearer for myself to figure
out if anything needs to move.
I want to move the shape up again
a little bit more. I’m also gonn lighten the line.
that I put here because when I look in the black mirror,
I see it better as one larger shape through here.
And I find that this is distracting my vision just a little bit.
So I'm going to make it a little bit lighter.
Not erase it completely, it’ll still have it
there as like a ghost image.
But hopefully this will give me a better chance of getting it in the right spot.
And as I’m doing this here, if I start to make this area bit messier or unclear
then I'll get myself one minute of a break and just take my eraser and
clarify what I'm doing for myself,
so I don't make more work for myself later on in the drawing.
Giving your keeping your drawing clear is maybe the most important thing at the stage.
Move the line of the elbow down again just a little bit more.
I need to redefine the stopping point,
I just make that a little bit darker.
And I’m sure it's very tempting to start to darken the background at this point,
but If you start to darken the background we gonna jump into values a little bit
too soon, so it's best just to be patient,
stay with this for a little while longer.
Once you find yourself circling around the drawing and not really changing anything, then that means you
are ready to move on.
So again just looking at the drawing, think about anything that needs to move, change,
be redefined. I’m going to lighten the line is going through because it’s not as strong as
it was before. Again what what I'm doing here is I'm trying to unify the background,
not necessaroly trying to make it darker.
Okay I’m gonna raise this shape up one more time.
I’m just gonna grab my plumb line and double check a few things.
Okay. I was just checking to see the relationship - when I had the plumb line the first
time going up through the figure and seeing how similar it is now. And I find it’s pretty much the same.
I do that now and then just to reassure myself of what I what I am
moving around. Okay, so we’re gonna have a quick break for lunch and we'll see you after.
going to continue going around
the outline of the figure. And I’m gonna give myself at least this session just correcting anything
that I see, getting ready to move into half tone soon.
Okay, so I'm going to try to reinforce this angle that I'm seeing here from the
armpit, down her arm, out to side of her hips.
So to do that I’m going to just darken up and strengthen up this area here.
And also going to try to play with the shadow shape
on top of her hips here and push that forward. And again try
to give it a little bit of a clear edge just so I can see it
from where I’m working. Whenever you need to walk up closer to the model and take a
look, it’s never a bad idea.
I’m just noticing the back of her leg
this point just push over to about here.
And try to keep this area more similar to the background value so I’m just going to erase.
I’ll just redefine that line as well. So here's another place where we have a stronger contrast, lesser contrast and
a stronger contest again. So by not giving any extra attention to this area in terms
of a heavier, darker line, if I put a darker line here
It allows this to kind of fade away a little bit and starts to give more of an impression
of how we’re seeing the light on the figure.
And that will come into play a little bit later when we start working with values.
But just the way to start getting the drawing ready for thinking about values.
Gonna get rid of this old line that’s here.
It’s never a bad idea too if you ever need to do some reconstruction and move things around just to
go back a step and keep everything
back into straight lines against simple lines is never a bad idea.
So whenever I'm working an area like that,
I just unify the background as well,
which gives a bit more clarity.
It does get slightly darker.
But as long as your goal is not to darken it, just to make it more clear
then you're fine. Just going back up here to the hip and giving a little bit more character out of the shapes.
Just clarifying my lines again.
Just a little bit of an adjustment to the shoulder here. Just try to pinpoint
where this point is, where that turns or breaks we can say better.
Another thing I think I can push the neck back just a little more,
Maybe also the back of the head at the same time.
Again I keep thinking about
this line as it goes up.
it can lead your eye to the back of the head so it should always be if
you move one thing if you move one, think about what happen to the other one.
I'm not too concerned with rounding out to head yet, I’m trying to make that appear
rounder. I’m just making sure that it makes sense that -
or how it sits on top of the shoulders and the neck for now.
I'm really trying to use this little triangular shape here
and see if I get this through the correct proportion and from there you can start building
off parts of the head. Incline
this line a bit more.
Make this a little bit stronger. Okay,
I think with the ear as well I’m going to treat the inside of the ear, all of
this area, as one large shape at the beginning. When I'm standing back looking there for
my view spot, that's the overall impression that I get.
So I’ll keep that one first.
And then I will go back in and adjust it.
Just clarifying the shape again for myself.
I’m just gonna restate the height of the hair.
This is supposed to be the cast shadow that's riding underneath her hair.
Okay, so Amy’s going to take a break. I’m gonna spend just one more minute
here just unifying and - yeah, unifying the background a bit more and then I'll take a
break myself. As we start getting further and further into this project
we can take more advantage of the breaks and continuously unify our values,
especially for this right now with our background.
And in these instances if I’m unifying the background,
I also want to go through and carry that value all the way through the shadows
until the edge of the shadow.
Here I’m just trying to lighten the edge a little bit more so it doesn't stand out as much.
From memory I remember this area as having slightly less contrast
with the background. So to mimic that I just make the line a little bit lighter and it
gives me that same impression. If you guys want to keep the light shape of our
drawing, this whole area through here, as clean as possible,
So you might have noticed me putting my hand on the drawing to brace it as
I’m drawing. And then you’ll have dirty necklaces so - and it touching the drawing so also
on the breaks I can take advantage of making sure I keep it clean
just in case you push too hard
you don't stain the paper.
Okay, so we’ll take a little break and come back.
Okay, so we’re gonna get started with our next session here.
I'm going to spend the first few minutes just working on the head and try to
resolve a little bit more
the light shape of the face. And then we’ll jump around from there. One good thing to put
into practice is always trying to keep the drawing at the same level throughout.
So if you ever find yourself focusing on one area too much and leaving other areas
behind it’s not the funnest thing to do in the world,
but it's always good to catch up the areas that are the least resolved.
So in my case I feel I haven't given so much attention to the head yet.
So I'm going to try to get that up to the same level as the rest of
the body and then we'll move around again.
Amy can you check your elbow, the ones on the stand if it's in the right place?
Just it feels like the elbow - yeah, great. And can you let your should go back a little bit to the left.
Okay so I’m gonna change the design of the hair really quickly.
I’m gonna bring this a bit longer through here.
Take out t hat little piece. If you ever find something to look better in a different moment,
it's always welcome to shift around your shape especially if they make a nicer image.
So as I get closer I can see we have one edge of the shadow representing the flatness of
her forehead. And then it goes over the top, back to her hair
and then down this little cast shadow from her hair.
So we can see it just ending here on top of the eyebrow. And also I’d like to try to spot the
corner of the eye. Right now the shadow’s going across her nose and rides down just
to the edge so I’m gonna move that one through here.
And then it makes kind of a cool little zigzag
as it comes out. And as I’m doing this I’m also going to look at her
lower part. We can say like around the side of the mouth there.
And try to see if we can get that also
locked into place just a little bit more.
I’m doing this close up just because when I'm standing in my viewpoint I’m quite far away
and I can't see exactly where
things are beginning and ending.
So I’ll spend just a minute up here and then walk back and see if everything
still works from a distance.
I feel like this space can be a little bit smaller. Okay what I'm doing here is to try to get rid of that line which is behind the
nose there it’s a little bit distracting. I'm really focusing on just this shape of light going through her face,
all this right now is distracting, you can just push it back into the background.
So it allows you to focus on just the information that’s needed.
So I’m gonna bring it down to the base of the nose and then I’ll put back in the nostril.
Sometimes you can put down just a little bit of a value and then cut away with
it. Cut it away with the eraser.
You can relax Amy if you want. Okay, I think so for now I’m gonna leave the head how it stands
and I'm going to jump around a bit more through the figure.
And I’ll come back to it a little later. Get the angle of the toes.
Just looking a little bit closer to see what happens through this area.
Just lining up that line a little bit, trying to take more attention to this part here,
which I feel carries the rhythm a bit better
than that inside one. I'm going to keep going to be another drawing. You know if I find something I can correct
I’ll correct it. Okay. So again we’ll have a little break, before then I’m just gonna spend
again one more minute just going through anywhere that
has just kind of weird ununified feeling.
I'll go back and try to unify it the best I can.
Again if you want to keep your lines you just touch them ever so slightly.
Again getting distance shows you where you can unify things more, when you're up close it’s hard
to see sometimes. Okay, so I’ll go on a little break and we'll come back in a second.
Okay, we're back from break now.
Again, just keep playing with the same things.
I'm trying to redefine any shapes that
you see needed. Feel free to walk up closer to the model whenever needed to see things
more specifically. So the goal here I guess if we have to say one is really just to make sure
that everything is working as best I can for this level.
And that just means general proportions, gesture,
and the design of your shape of light and shadow. With the light and shadow shapes
if you get one you get the other so it's always good to go thinking about
what is a dark shape look like versus what is the light shape look like and
just keep going back and forth until they click into place if you wanna say. So I’m just trying to get the shape
of how her leg connects to the foot a little bit more
decided on. And as I’m here what I'm thinking about is If I follow one side of the
contour of the leg it goes to a point and it turns down.
If I also look at the shadow shape,
it should also have a point where it stops and turns and goes down.
And I was trying to see what these two points
are in relationship to each other, whether
they're on the same ending point of their height or one's higher, ones lower.
So I’m gonna say for now I can always change my mind.
This one’s going to end just a little bit higher than this one is.
I’m gonna let the heels group together as one shape through here.
See a little bit of that back leg coming out, which is kinda nice.
Can I ask you for a big favor Amy?
Could you just take your right arm and hold it away from your stomach for one second.
Okay. So the reason I'm asking her to do this is that we can go and
see - we can go and see this shape that is here along the side of her body.
That when that arm is down touching it, there's lots of reflective lights with the edge of
the shadow is a little bit hidden.
Or not as clearly seen. So if we asked her to raise her arm just for one second
we can go and just make a couple of notes about where we see the shape
going and ending and where it goes up
it's going to be hidden by the arm.
And then again, we can see it as it comes down under her armpit through here.
So it's just for me to make a quick kind of mental note
about where things are happening. Okay. That’s good, you can put it back.
Thanks. Another advantage of working from life with the model is that you can have them
move around a bit and see the things that you have questions about.
Just moving the elbow over again just a little bit more.
I felt the distance from here to here
was getting a bit too long.
It might need to move over a little bit more eventually.
But that’s another thing to just keep my eye on it when I really see what to do with
it I’ll put it in its place.
Now to start really getting into values. These things will connect just a little bit better.
So here on her back I just want to thin down the line a bit.
If I can. Ideally here I’d like to have a thin line but quite a light line
as well so it doesn't look - it doesn’t distract me from seeing this part of the body.
So again I’m just moving around just to see how things are connecting through there.
Okay. So we’re about ready to take another break now. Again before I stop, I’m just gonna look at
it for one second and see if there's anything I need to do.
Try to take advantage of the time without the model.
I’m just gonna take one second and keep filling in the background through here.
It really doesn't matter how you put on the charcoal for the background the way it’s not
next to figure, you can do it in any which way you please
as long as it stays unified and not darker than the other values around it.
So when I’m drawing at least try to make sure that my - the side of my paper that’s between
me and the model here has some kind of value on it. Otherwise
I'm seeing a model then a white spot, a dark spot, and another white spot in
my view. So I try to at least make sure that this side has a
relative similar tone or similar value, sorry. So that my eye can just go back and forth and then
not get stopped on anything.
Okay, so I'll have a little break, sharpen my charcoal and we’ll be back.
So it's always good at the end of the day not to do anything crazy to
the drawing, it’s always good just to kind of play
kind of like a cleanup game or
prepare yourself for the next day at work.
So since we don't have lots of different values going through the drawing, we’re still working
with one value relatively just that background and the shadow value
what I like to do is just go around and try to again to reconfirm my
decisions on the shapes
and keep playing around with
them and moving them around until
I feel like they're in a better position. Okay so again just jumping around the drawing.
Just see how things connect through the drawing.
I feel like this can step down a little bit and then come over so I can
erase a little bit of that
value that I have here.
And give this one a clear ending point.
On the back of the knee again I can try to tuck that line behind here. Can erase the line to where it needs to go.
Eventually they’ll be a half tone coming up through here. But I’m just going to end it this
line to leave space for that eventually.
I think that can get a little bit smaller.
And then try to lose this dark line I put down earlier so I don’t get distracted by it.
Okay I’m going to turn the angle of the scapula through here.
I feel like it can point out a little bit more
through there so I’ll bring that in. That’ll help out just a little bit.
And again I’m just gonna redefine this line a little bit stronger than what I have.
Strengthen the armpit a little bit more. With there line of her elbow is quite simple and still
so maybe I can actually break that down here and have it come in just a little bit
more. We start to get a curve from these two straight lines.
And at the same time just bringing the background in a little bit darker against the arm.
Just so it stays more consistent. So we can also start playing around just a little bit with
some internal information, which will be shown in the feature’s half tones.
Soon as I get this little shape under control we can do that.
Another little thing to keep in mind, which right now is not super important,
but it will become important is if we ever have any darker shapes inside the body
like we do here, a shadow shape like the armpit, it's a good idea to try to keep the
shape here slightly lighter in value than the background.
If you have a very dark shape through here,
it doesn't read as well and later
you'll see when we start to work with values it’s actually quite a lighter value than
the background. So I think now I'm actually going to push back the stuff that I brought
in before. Keeping the top where it is and pushing the bottom of it out.
And it’s okay if you erase too far out into the paper or into the background sorry.
You can always go back and and bring it back. And like I said before, as we
darken the paper - or sorry darken the drawing -
all these little areas that look stained or slightly gray,
will all go back and look correct.
Again I’m darkening that little line in the hair because it stands out as more contrasting against the
background. Compared to this part of the hair which has less contrast.
So if I go back again and lighten that outline. So the sharper and the dark I make
the line up through the top of the head,
the more contrast I give it and then I give less contrast to the back of the head.
And again, just trying to mimic the impression better. So I’m gonna start sketching out where
I think the back of the scapula’s going. Again,
just a lot of pushing and pulling.
And the more time you spend in this stage, the better. This is
maybe 70% of the game. If all of these things
work now, you have a much better chance of getting - just have less work to do
as you're going along. So don't rush through, just take your time.
And I can drop down this line a little bit more.
Alright. Thanks Amy. Okay, so I'm going to give myself just another minute to
think about how to leave things for tomorrow.
Another thing that could be helpful is with our background
this is just quite a big space to fill with charcoal. And it takes quite a long
time to go through and be very patient and fill the whole background and try to make
everything even so a way to help you with this is for the first layer of
charcoal that we use okay just as an example
we can do something here.
We can try to put down
the flattest value that we can. Okay,
then if we have a brush it could be any kind of brush, just something that has
stiff hairs on the brush, we can actually go and just gently rub in the charcoal
into the paper. And what this does is it starts to fill all these little holes that
you might see on the paper and gives you a nice surface to start building up your
values on. So if you go back with a sharp piece of charcoal, with every new
pass that you make on top of that surface
it should become a flatter and flatter tone.
So I like to do this myself for for the background,
but the problem is as soon as we enter inside of the figure
all of our shapes will become lost just because of the clumsiness of the brush.
So I would recommend only to use it for the background.
And just use it at the beginning.
Once you do it once, this is a nice enough service to work on top of
it and it should give you a quite a nice flat value. The other reason why
we wouldn't use the brush inside of the figure is that it's almost impossible to erase.
It erases a little bit but you'll never get back to the white of the paper.
So this is just a little tip for getting in the background faster. I use it almost
always at the first level of the drawing.
So I will go through now before I finish working today and just lightly brush in
the background towards towards it. This might also help to unify your background if it's a bit
messy. So again the first layer of the shadow is okay also to use but after
that be quite careful. And again I’m just trying to avoid any little halos around the
figure, so. Okay, so by doing that we’re isolating the light in the figure and
now the figure seems a bit more dominant on the paper. So I think I'll leave it like that for
today and we’ll pick up tomorrow.
our long - our full value figure project. Today we will be continuing working on
improving the drawing, improving the outline, the shadow shapes, and the light shape.
And hopefully midway through that day we can start introducing some mid tone values.
So it's always good idea when you begin today to take a few minutes,
look at your drawing, think about any big changes that need to be made.
Because when you begin the day is when you have the freshest eyes. Okay,
so welcome back Amy and get to it.
Okay, so just for myself to know, I have isolated the light shape, meaning that
the left side of her body is all more or less the value of the
paper. Which creates a big shape of light.
So now what I want to do before I move forward with the values is just again,
give myself maybe the first one or two poses just to correct anything that jumps out
to me. The other thing to keep in mind is that right
now the drawing doesn't have to be very very accurate.
The drawing will continuously move around and be just until the last moment of the pose.
Okay, so when I'm standing here I'm just flicking my eyes back and forth between the model
and my drawing. At the same time
I'm also squinting so I don't get caught up in any smaller details.
Okay, so I'm going to jump around the drawing a little bit.
There's two things I see. One is with the right side of the hip next
to her elbow. There I’m just gonna work on the outline that’s inside
the shadow and just redefine it just a little bit.
Just to keep track of where things are on the shadow side of the figure.
And again I want to do it lightly so I don't
draw too much attention to it.
But just to have it there just for my reference.
I also know that the calf muscle can get a little bit smaller is it
comes in towards the knee. So the arms kinda adjust inclination a little bit more as well.
And with the light shape on here. Okay move that shadow shape up next to knee again.
And just touch the outside edge just a little bit
so it makes it a little clearer from where I'm standing.
Okay, I’m gonna move that armpit here a little bit forward, I feel like there’s enough space between the
armpit and scapula. But you can = as soon as I start working with half tones it will be a bit more
obvious if those distances are correct or not.
I’m gonna give a little bit of an adjustment to the bottom.
It's funny. Sometimes you look at a shape and you draw and you're convinced
that's the right way to draw it and you step back or take a break and you
completely rethink what you just did.
Again the front of the hips again,
I feel like they could be a little bit more out here.
With the erase I try to put very little pressure on it
and then I can move the line on the side of the body without really messing
up the values. Okay gonna move the elbow back out.
Just clean up any little spots that I’ve touched with my finger.
So I’m just going to mark the legs again, on the outside next to the shadow.
Just going to put back the lines that I had before.
Back of the knee again. Let me push that out. Again just jumping on the drawing wherever
need to in your process and just correct shapes constantly.
Also yesterday after using the brush, it does soften the edges little bit of the shape
so it's nice to go back and pass over them.
If anything's working the way it is,
you don't need to touch it.
If things can be bettered by a little bit of movement then now is the time
for that. Okay, so I’ll take a little break and I’ll come back to it.
So welcome back. At this point in the drawing getting ready to introduce darker values and
I thought I'd take a moment and explain also another exercise that is done during the
drying process, which is a value study.
So here on my paper I have mounted the same type of paper, just a small
piece let’s say maybe a little bit less than a foot long.
And the real purpose of this value study is just to give yourself
just one try at understanding how the values work in the figure.
And you don’t have to worry about messing anything up on the longer project we’re doing.
So basically this will be considered more of a sketch.
The drawing is not the most important thing but really getting a simplified version of the
values is the goal here.
So we're going to start the same way.
We’re gonna continue working in sight-size. I can do the sight-size here by just holding my arm
out. Because I can already get the the top of the head,
bottom of the feet, somewhere in the middle of the body, and I'm also going to
mark out where her shoulder is on the chair there.
Okay. So again just - we can start out with long straight lines.
Okay. So now the difference would be as we're working alone we’re gonna try to
get in the showers shape as soon as possible.
But instead of drawing a - or instead of drawing an outline around the shadow first,
we can just mass it directly in with a value. So arrive to a similar shape that
the big drawing is in right now.
So I'll get myself some indications of where that shadow was going again.
Okay, so from this point,
once we have the shadows more or less sketched in we can say,
we're going to go through and put our background on.
Again as we do this
we can start from one corner into the drawing.
As we’re doing this we also want to squint our eyes at the model. Wherever the light stops and
the shadow begins is what we're going to do now and take our background value all
the way to that line or the edge.
Just trying to give more or less a flat tone to the drawing. Okay,
and I'll get myself once second just to go and again erase the light shape,
make sure it's nice and clean.
Okay, so this is basically the big shape
of the drawing. Again just make sure if you can, background being as unified as you
can get it. Okay, so now we're at a similar stage in our longer project.
Okay, so now we can talk a little bit about the next steps in our process
here. So again, just try to clean up any of the shapes.
Again, they don’t have to be
perfect, but they need to represent what you're seeing.
So now we're going to talk a little bit about how values work when you're working
with the live model. So as we see in front of us,
we have a very dark background,
which we can say is almost black.
So what we can say for that value
here at our paper is you can make a little note for yourself of how dark are
you able to make something on your drawing.
Okay. Now we want to try to reserve this value for the very end.
So the idea is to say okay
my darkest value is not black yet,
but it's something that's almost the same value as black but can still
go little bit darker if we need to. So we can start out by saying what
is our background value going to be. So I will start by making the background value
similar to this, leaving myself room
to go darker if needed.
So I'll start by doing that, making the background quite a bit darker. As I'm doing that
I'm also going to leave the shadow value a little bit lighter than the background value.
So as I'm going along, I'm going to leave a bit of space
where I think the leg goes. Will be. Okay.
So now that I have my background established,
as a value I can -
I can always go and reshape
the figure as I need to
and move things around. But again,
the point of this exercise is not the drawing, it’s much more the impression of
values. Okay. So now that we have our background established as one value,
which we can say will be our darker value.
Now we need to find whatever is touching the background. We can get the value of
that area as we compare it to the background. So the next one we need
to worry about is the shadow value. When we say shadow value, it’s the value that goes all the way along the side of
her legs, through the front of her face, under her arm and elbow.
Okay. So the way we make these judgments is we have to look at our model.
We quint out eyes and we focus our attention
on the light side of her body.
Normally if there's one point that really sticks out to you,
we can say maybe somewhere here on her lower back.
We can focus our attention there and then using our peripheral vision,
we can start to see how things look under the shadow side of her body compared
to the background. And as we do this,
we find that there's actually less contrast than we think between the shadow and the background.
So once we make this mental decision
we can see how much contrast we see with our eyes squinted
between her legs, if you want to say in the background,
we have to open our eyes and then recreate that same contrast here on our little
drawing. If we squint at our drawing, it will look better than it actually is and it’ll
look as it should but it doesn't help you to get the correct arrangement of values.
So that's a big thing to remember is you squint at nature to see how things
compress but when you want to - when you're drawing you have to make a drawing look
as if you were squinting at the figure.
So my next step now will be going through and darkening down the shadows to the
correct or a better relationship with the background.
Okay as you notice, I can always go back and replace the charcoal on my background that I moved.
And I get a very flat face value for the shadow.
There should be no gradation or change.
So again here I’m just cleaning up the area. So I’ll continue going through the figure, adjusting the
shadow value. Okay, so Amy’s gonna take a little break and when she comes back we’ll
continue with our value study.
So once Amy gets back into position,
we're going to continue adjusting our shadow value with our background and then we'll start putting
in our larger values inside the body, inside the light shape of the figure.
Another note when I'm working,
I have a handful of charcoal
so I don't have to constantly be looking for where my charcoal is and they're all
sharpened already from the break.
So whenever you're having a break just sharpen your charcoal and get ready for the
next session. Okay, so continue on with our shadow value.
Agains just keep squinting your eyes.
It's better to make all the shadows the same value if you're hesitant
at the beginning and then we can simply exchange them
later. If you squint your eyes and you can’t see any difference between the shadow in
the background, then they will become just the same value.
So an area that happens for me is the right side of her neck. For me
I see almost no separation and value in this area here.
So that was allow me to put the background in
all the way up until the edge of her neck here as it is hits the light.
Just get rid of that line for now.
Through her face has more of a similar value than the grouping of her legs at the
bottom. So it's just a little bit brighter than the background itself.
Okay. I'm just trying to make sure my shadows are in a good enough
position so when I start putting in our mid tone values
we’ll have an easier time.
One small detail is we can work on the floor quickly just to have less distracting
space around the figure here. As we squint our eyes, if the mat she’s standing on,
the black mat, seems to merge with the black cloth,
you can put them in a similar value.
I will just try to give the floor and the mat the correct amount of contrast.
Okay, so I think now we're ready to start moving in
to the inside of the figure. Before I do that I was going to make sure that this white paper is
clean and doesn't have any dust on it.
Okay, so now as we're looking at the figure,
so let’s do a check. So, so far
we have established the value of the background and the value of the shadow.
The next thing you want to do is try to go after
large planes of value, so large areas of value. Not smaller pieces
but the largest ones you can make. So again.
we can either our normal clear mirror, our white mirror,
or our black mirror, and start to make some decisions on how we will group our values.
So for me, I would recommend for you to start whereever
you see the the darkest values inside the light of the figure. As I'm looking
at her now I can say that
the brightest parts of her will be this area on the side of her hips
through here, her arm ,and maybe live in her shoulder.
So if I'm looking at, for example, this area under hips,
I can see that her calf or her lower leg
is quite a bit darker than this area.
So right now I can start down here. When I'm deciding on what that shape should
be, I squint my eyes and see
just behind her knee here or just below if we sit through here,
all of this area can have more or less the same value.
So as we go through there,
we can simply just take her trunk and go all the way from the shadow side
into the background again. Don't worry about trying to fill in just this little zone of
value. So it’ll look something like this.
Okay, I usually put in the charcoal kinda in a hatching way, feel free to experiment
and see what works better for you.
I also try to do it in maybe a couple of passes, so instead of really
forcing it on the first time, I slowly build up that value. That value can also come
down over the foot through here,
sSo I'm going to carry that value down.
And if you can make a clear shape out of it, even better. If you can't
also fine. Okay. So now after we establish that area having a little bit of a
value, you try to keep things clear. I’ll start going up to figure and seeing where
the next area that catches my attention will be. Okay,
so the next big value that I see is coming off her hips so here,
across and then over, and is ending here.
So I'm basically having a shape that looks something
like this. Okay, so I’ll also give that a light value and I'm also not paying
attention to any of the lighter or darker parts being separate from each other right now.
The big idea is to get the big overall
Impression and then we can always go back and readjust our decisions.
Again with your eraser you can always go back and reshape.
Okay. I'm going to move up to her lower back.
Okay so now for her back
we can make a bigger shape, one that comes
in through here. It will stop.
I'm going to have it go across the top of her hips to here,
underneath here, and behind her scapula.
Okay, and then back down here just to give you an idea of how that will
look. I try not to draw with a line the shape of the halftone first.
I think it's much better to put on a value and to go back in and adjust it
with your eraser. Again, starting from the background, moving the charcoal across.
It’s gonna change that shape that I put there.
I'm also going to connect this value with the shoulder through here,
As I’m looking in the mirror,
just looking around the figure,
I also always see adjustments and things that would make a better
shape. I can put that shadow in through there.
You can also go back inside of that and also try to clean up.
As we’re going up towards the head, we consider that whole side of her head here has
a slightly darker value than her shoulder.
Okay, so I’ll spend one more minute
just cleaning up the drawing and we'll finish up with the next session.
All I'm doing now is I just want to unify the values they have so they
become clearer shapes. When she comes back
I can spend my time just correcting my values rather than trying to clean up
and unify my shapes. Okay,
so I think I'll sharpen
my charcoal, we’ll take a break and we'll come back after.
Okay, so we're back.We’re gonna try to go a little bit further with our value
study now just to go over a couple things before Amy's back in position.
As I'm working, it’s going to get quite abstract and a little bit unorganized for
the first few moments here again.
What I'm really trying to do is go after any large areas of values that
I can group together in my mind at the beginning
and then I can either go and subdivide them into darker and lighter areas,
I can completely change my mind and move them around. The idea with this value study is
really just to capture the light effect that’s hitting the model.
And we’re trying to do it with as few values as possible.
So by doing that it forces us to eliminate anything
that's not really that necessary and to focus on these larger
shapes of values or half tones as we call them.
Okay, so I'm going to continue jumping around the figure a little bit and putting down
values as I see them. So one thing I can do now is look at my mirror
upside down and I squint in the mirror and I just think about how I can
group different values together. So if I compare her head to her shoulders,
for example, we talked about her shoulders, her whole head is little bit darker so I can simply
just go with my charcoal
and darken the entire shape of the face
and her neck just a little bit and what that does now is it gives a
brighter value through here and a slightly dimmer value
through the whole shape of her face.
So do that one more time just a little bit darker.
I also find that her arm, just below
here, can also drop down in value compared to her shoulder.
So again look in the mirror to see how you can group any value together
through there. So I see a value from here up until about here leaving
a little space at the top there.
And the whole arm is a little bit darker than the top of the arm or the shoulder
we can say so I can also, instead of going piece-by-piece,
I can darken the whole area a little bit first.
Usually as you do this you start losing a bit of the clarity of the shapes,
so if you need to stop and go back and redefine anything, always feel
free to do that. Can also darken down a little bit the side of the
ribs here. Now I'm going to go back and darken down this part of the
leg, which I know is way too bright,
but I left it for the moment just to kind of get some charcoal and some
value in the topper - I’m sorry the topper - the upper part of the body.
So now I’m going to treat this again as one unit and darken the whole thing.
When I look in the mirror,
it's probably something similar to this area of the body.
Okay there’s also a slightly darker tone inside of this mass, it comes just through here.
Okay the same with the foot, the foot can also be a similar value to what we have through there.
I can go ahead and strengthen again the - just gonna make that a little bigger, both and strengthen again the shadow
in this area. Carry this tone across here, connecting it with this larger
mass. Okay. So here we’re going to have two different values.
We'll have this one representing the side of the hip
underneath her butt here.
And we need one more little shape through here and on the back.
A slightly lighter value than this one.
Again I always step back just to see how things are going. When you're standing
very close sometimes you don't see the big picture.
Sometimes it's actually good to stand out of your view spot for one moment
and see how things are going. So
I feel that these two areas are jumping out a little bit too much to
me. So again, I’ll go through and darken those areas down a little bit more. Yeah those areas get too close
to the other values that I made,
I just need to keep them all separate.
So what I can do is look and see if I can make any of their values
slightly different from each other. So I can darken her leg here a bit more.
Going back and just cleaning up the shape little bit.
Same through here. I do that a lot again with making this little shape with the eraser
and just kind of hatching my way back and forth.
So at this point with our value study, we can call it complete or we can keep
working on it. For myself
I think I am able to work with this but it’s done.
This has given me a good idea of relationships of values between the shadow
mass to the background and it’s also helped me to understand how larger values will group together
in my final drawing here and some of the choices I can
explain better here in the final project. Before stopping here
all I want to do is just try to see if I can get any of
my group to get a little bit more defined and then I'll take a break.
So just one more moment here.
So there are instances where we have light on the leg
on our final project here. And I don't have it on the value study.
So there are instances where I have chosen on purpose not to bother with this little
shape of light because it doesn't really take away from the larger effect on the impression.
So on the same thing on my small value study through here, if I find things
are jumping a bit too much,
I can choose to group them. So if I choose - if this is bothering me,
I can put it into different grouping. So I can put it into the grouping of
her back value here and group this all together as one larger value.
And we always make these choices, especially in a value study, when we're working with limited
values that if it works better to group
two values together then that's your - the decision
that should be made. Because we're not after making it a little mini fully rendered drawing
here. But we’re really after is a very simplified compressed version of what we're seeing.
So I think I'll stop working on my value study now. What we're going to do is
have it next to
our project here on the side that we can always refer to and if we ever
get confused with the values in our drawing as we’re working on it.
We can always take a break from the model or so from our drawing and put
back up our value study and continue working on it.
So for now I'll take a break and sharpen my charcoal and get ready for the next
value study, we can get back to work on our project here.
So as we push ahead in the project we
will be basically darkening the drawing. We need to do it carefully at first, just so
we don't start to lose too much information
until we get down to the values that we will be working with at the end.
So during these next few sessions,
the direction will be just basically darkening so I will start off by
introducing some halftones to the figure. And then at the same time
I'll slowly darken the background and the shadow.
So usually when I start this process, I start from the shadow edge working into the
light of the figure. I do that because it helps to get an idea of form
and it also keeps the hierarchy of the values all in place so that we don't
have any bright values just along the edge of the shadow.
Okay. So like in our value study,
I think I'll start somewhere around the legs and then start jumping around the figure. So when I put out
the first values, I just put down a value. It’s going to be a lot lighter
than the final value, but it'll give me an idea of the shape that I’m trying
to create. So this time when I put down a value,
I'll be a little bit more particular about the shape of the value that I'm putting
down. Okay, so I'll start at the lower leg.
And again, I use my arm and I just kind of drive the charcoal kind
of in a hatching motion.
I always go, start from inside the shadow and out.
I try not to start just the edge.
Otherwise, I'll create a weird value at the edge.
And if you can notice, I’m going across the shadow
which is also darkening the shadow
just a little bit as I’m working.
So now I put down a little bit of a value and I'll go back and
I'll try to carve out a shape for that value.
Continue that value down across the ankle. Again,
the reason I'm starting from this side of the figure or the edge of the figure and
going this way is because here is lighter. If it has to start here and go
in, I wouldn't have the hierarchy.
But again at the end,
it doesn't matter but if you're In control the whole time in your drawing it makes a
huge difference. So here I have this light shape inside the leg, which will ultimately will
be darker than the outside of the leg.
So I can actually put that down a little bit in value now as I'm working
on it. Again I strengthen the shadow edge if
I feel like something's going to get lost.
And especially if I want to hold on to it. As I’m doing this as well,
you can always go back and change up your shadow line.
You can move that around if you find it to
be in a better place.
Okay I’m gonna go for a larger shape in the hips here. Grab a sharper piece of charcoal.
Maybe one that's not like a rock.
I keep seeing this as a stronger shape so I’m going to make this a little stronger through
here. And then I’ll go back and just try to redefine the edge of it a bit.
I can see this kind of lining up with each other through here so I’m gonna put
a little bit of value in that direction.
The reason I’m doing this with not a very dark tone is because if
I put something very dark
right the beginning it’s just way too much contrast for your eye to handle.
It’s actually harder to see. So again here I need more attention on the elbow and
the shadow and right now my eye is getting confused in that area.
So if I go and start to strengthen the outline, still keeping it you know more straight lines
I can get everything just a little bit more organized.
I can actually make this whole area into that same value.
And the shape has to go and end at a point this way.
You can even mimic that with your charcoal as you're doing it.
Again just redefining the edge of the shadow.
I’m also going to darken the shadow just a little bit.
Almost nothing. More or less just unifying it.
Okay so she’s gonna take a break.
I'm just going to finish off the legs here.
Okay, so now that she's on break,
I'm going to also take a break and sharpen my charcoal.
So I don’t have to do it when she's back up.
Okay, so we're back from a break.
Now I'm going to continue trying to place
halftones around the edge of the shadow. I’ll work a little bit on the hips before
going up to the back and shoulders and the head area.
I try not to get caught up too much in small little things right now.
If I start doing that then I just force myself to walk back to my viewing
spot. And usually that helps out.
Because you start introducing a lot of values then things start jumping around and it's almost
like puzzling things together.
I want to keep my shadow in the figure in the background a lot closer together
in a value, that will allow me to see the light of a clear.
So if they ever get too far away from me - from each other - in value,
then I'll stop and darkened or put them closer in value by darkening or lighting whichever one.
Again just going back and forth looking at - I think this half tone actually starts up
here, so I can just add on a little bit.
So here I can always go back and erase out at slightly later shape that's here.
It'll actually get darker later on but sometimes it's nice to already start separating anything
that's very obvious. When I am drawing I’m also thinking about planes a lot by working with
very flat values. It really lends itself to working in a plainer way.
Okay so I’m going to jump to the other side and put down a value for the right side of the body as we see it in
the torso. The first one I can see is going down from the armpit, I can see this
big kind of triangle shape if you want to say.
So I'm going to go for that one first, again going away from the shadow first.
Again the direction of the mark making does not really matter that much at all
at the end. If it helps you to think about a shape or do something like
that, then that's fine. Okay, so now before taking a break I'm going to take one second and go through and
try to organize my values here on the shadow side in the background of the figure
so I don't waste time when Amy's back posing for us.
So I'll do that for one second more and I'll take my break
myself. Sometimes these charcoals are a little bit harder in spots so just break off the top
of it. We’re just basically throwing away 50 cents. They sometimes work better.
Okay so keeping these values as close as we can together.
I don't want to do anything up here yet
because I'm not sure about my relationships in this area.
So when she comes back I'll continue working up through here,
but for now all the parts that I already have worked on
I already know. They need to be in a certain way.
I also often take notes for myself because when I'm working with the model,
I don't want to waste a lot of time filling in the background.
So as I’m working with Amy,
I am saying that working on levels if something is the same value,
I try to make it the same value just until about here and then when I'm
on a break I can fill out the rest area.
On this side of the drawing I haven't worked on it so much yet,
so I don't really need to darken anything down through here so much,
but things I do on that side as I'm working I can say okay if I
make a darker line, for example,
then I try to darken the background to that value in the line.
Okay, so I'm going to take a little break and sharpen by charcoal and we’ll
the middle area of the figure for a few more minutes and work my way up.
It'd be great if I can get through
the whole body by the end of the session and then I can step back
and see how everything's looking as a whole.
Remember that we still need to eventually go to something like this.
So we have quite a lot of room for value. Okay,
so we're going to have a little break and we'll come back.
Okay, so we're back for our lunch break now, welcoming Amy back up onto
the model stand. Okay, so I'm going to continue working up
through the neck and the head, trying to plot out some of the bigger half tones
and then I'll continue working through the whole figure, trying to slowly darken the shadow and
the background together. And as I do that as well adjusted value of half tones.
I just like to make this extra step here just to map out the half tones.
I just feel more secure in this way,
and it gives me one attempt just to go through and a move things around.
Okay Amy’s going to have a break, I’m gonna continue on the background just a little bit more and on
the shadow here. Okay, so I'm going to take a little break and we’ll be back.
Okay so I’m back from a break.
Okay so I’m just going to fix the value of the hair
and then jump around a bit more.
One funny thing about dealing with the hair is that every day it’s going to change maybe even
every session that she stands up there.
It will change. So eventually it’s just going to be a decision that you make of what
shape of the hair do you like?
What represent itself, what shape represents itself in the best way?
Can also use my eraser to go back and unified something if I have too many
little values that don't look like they group together,
I can just take my eraser and put them all to become the same value.
Okay, so I guess I will take a little break as well and we'll come back
in a few seconds. Okay so we're back from our break now.
And I'm going to keep carrying on moving around the figure, trying to decide on
different grouping of values and again slowly darkening down the background and the shadow.
The whole time I am darkening things down,
I'm trying to relate as well the contrast I see from the edge of the body
on our left side to the background and also on the right side. So as I darken
the background I always adjust value next to it.
You might have also noticed I'm leaving the white of the paper in a lot of
areas and I do that because if I darken it, then I don't know my direction.
So by leaving the white paper,
it forces me to continuously work up to that brighter value.
Okay just working on the the back of the knee, trying to go through and group this
halftone value all the way down through here to make it a solid shape to start out
with, then I can always go back and adjust it as I need it.
So even if I make things too light or too dark, keep adjusting in with my eraser.
So as we get down towards the bottom
there where I was just working on the leg we can start analyzing or trying to devise a little
bit closer here. When we squint our eyes looking at the model in this area,
we noticed that there's not a whole lot of contrast between the shadow and the next
half tone. So now as we start to again keep pushing things a bit darker, we’ll start
adjusting those values. So we know
that we’ll have to make things darker.
So this black value that we have here maybe not fully as dark,
but we still have a lot of room to go in that area.
So you could either now go and make everything as we did in the value study
very dark or we can start to adjust the values that we have now and relate them to
the background value that we have already placed.
So I always prefer to do this one extra, again, little
step between this big jump.
I try to push the background
a little bit darker than what I have here.
So as we’re doing this, anywhere that melts in with the background, so if I’m looking at this little shadow shape here under her
butt, they kinda merge together when you squint your eyes.
So that already tells you what value the shadow’s going to be, whatever the background is
the shadow has to be the same. So we can actually lose any separation between them.
And that kind of gives us a way in and out of the figure, so we’re
kind of integrating the figure into the background,
which is a very important
quality in the drawing. Otherwise,
it just looks like it's photoshopped on top of a black mass and that's not as
realistic. Okay. So on that lower part of the chin or lower leg we started here, I’m going to
keep adjusting this value until it works well with our shadow value, and then go up
one more time to the figure adjusting.
As I'm doing this stuff with the values,
I have to continuously walk back and forth. If I stay
up close to my drawing I won't be able to see anything at all. It looks very different
from a distance. Okay, so I’m gonna take a break and sharpen my charcoal and we’ll be back.
Okay, so we're back. I'm going to continue moving up the figure again, trying to again
darken the background a slight bit more.
So I’ll start darkening as Amy gets back in the pose.
So again now all my values are getting a little bit similar so I’m gonna start pushing the shadow
a little bit darker, trying to keep it separated from the rest of the values.
I know it doesn’t seem like a big deal,
but I definitely don't want my shapes -
I want them to be clear but I don't want them to stop my eyes from moving
through the drawing. If they do that then they're a little bit too strong.
All I’m trying to do with that little shape is just too
keep the whole shape visible,
but inside of it I can start to subdivide
ever-so-slightly. And the idea is to make that shape darker than any of the other shapes around.
So what I can do now again, is I can start to work on the background in
the edge of the figure in both sides.
Just kind of cleaning it up and getting me ready for tomorrow.
So when I come with fresh eyes I’ll have a better view of what I did
today. So again, you can always hold on to your outlines if you'd like to,
you know always find them again if you lose them.
Okay, so I think I’m gonna leave it like this for today.
And we'll see you again tomorrow.
background and start to build up our half tones around the edge of the shadow and the
edge of the contour. So today I am going to try to make a big push
in the drawing. We're going to try to arrive at very similar values that we did
in our value study. The background should get almost to its true value.
And as we do that,
we'll try to also carry the relationship of the half-tone values.
So whatever relationship we have now through our drawing.
As we darken one part of our drawing we’ll also have to darken the other part
of our drawing. Sometimes this gets a bit messy
so we call this the ugly stage of the drawing where it goes quite a bit
change and just be ready for making a mess and then we'll clean it up after
that. Okay, so let's welcome back Amy to the model stand and we’ll get going. So at times I
like to have a few piece of sharpened charcoal in my hand at all times.
It just saves time walking back and forth, picking up things you forgot.
Okay. So again every time we start off our session, just give herself a second
or two to think about
anything that jumps out to you, far as the drawing goes with proportions.
Things you can prove - improve in the gesture.
It can also be anything with the half tones that you see that could be put in
a better spot too. So I'll give myself the first few minutes or even the first session of just
looking and moving things around and then at the end of the first session or the
second one, I'll start to really go for the values a bit more. Let's take a quick little
break and I'll come right back.
Okay, so welcome back. I’m gonna be a little bit closer to the easel now just for a minute or two, just to refine some
of the shapes in the face. It’s also supposed to do from your viewing point but
it’s also good sometimes to spend just a minute here to get a closer loo. What I really
want to get down is just the the big shape of the face and the light
shape in through here. Once I have that under control again,
then I'll move back to my viewing spot and continue drawing.
Okay and we can see her hair has changed a little bit today
which is fine. If it's a better design or it looks better to you feel free and
change it. I think I might go ahead and change it now.
I think it has a nicer of shape on her forehead.
That's a bit clearer for me as well.
So I can just use the eraser and take off some charcoal there and reshape the shape here a
little bit. If I find I don't like it later
I can always go back and put something else there.
And as we darken down our drawing just in a few minutes
we'll be able to recover a lot of the information through here. It’s just our values are so
light right now that we can’t explain everything that we want to.
Okay. So how do we know how dark to make things at the beginning? If we
go for a huge jump and go to pure black, everything will be a little bit
cut out. So what we're going to do
is grab a couple pieces of the green charcoal
and have this in our hand is going through this and like we did yesterday
I'm going to get myself just a little notation of how dark or what does black
look like on my drawing.
So if I make a little black mark here,
we can see this is quite a contras, there’s a lot of room between the two
values. So what we wanna do is get something
much darker than what we have but maybe not quite as dark as the first pass over it.
So let's try to shoot for something in the background of being
similar to that value but not exactly that value and we still have room on
top of it to to darken as we need it.
So this will be my - the value of background I’m gonna shoot for now in the drawing.
Okay, we do have a light on the floor through here.
So we don't want to make this value
continuous around the bottom of the feet
however, so the bottom of the feet we can leave a slightly lighter value.
Okay. For the two parts. If anything,
we just don’t want to have a lot of contrast to the bottom but the bottom needs
to be little bit lighter than our background. And lastly as we’re putting in the background, now
we need to stop the background wherever it hits the shadow. The shadow is going to
be just a little bit lighter than the value of the background.
So as we do this,
it also gives us another chance to redefine the outline of the figure that’s on the
shadow side which we have or which I have lost in my drawing.
Okay. So as we get close to the figure through here I’m gonna slow down a
little bit and be a little bit more careful about how far in to bring the background.
it’ss still flexible. We can still push and pull back and forth,
but let’s see if we can put it in a good place.
Okay, so there's no perfect place to start with this.
I’m gonna start around the hip area and just start bringing in the trunk a little more heavy-handed
if you want to say now.
Until I feel like I'm getting close to the figure.
If you want to, you can actually go and redefine the outlines to give yourself
some idea of a stopping point again,
just roughly outlining. Okay, if you have old outline marks
or if you can see them you can also just put them back.
So I’m just gonna put down a few lines of - we're going to start slowing down the background as it
comes in. You might be wondering what happens once the charcoal starts getting quite small like
this. When you're using them to go in and try to work on forms it’s a little
annoying because you can't really see where the points of the charcoal is or resting
your hand isn't so easy.
And so these are great to save and use for the background.
So because we don't have her posing right now,
I'm going to bring the background is close to figure as I can
and then when she comes back up I can go up and redefine it.
Okay, so as you can I roughed in
a slightly darker value for our background.
So now what I really want to do is integrate the figure again into the background.
And what that means is really just looking again as we did in our smaller study
here about our value contrast level in between the shadow and the background to start with.
If it’s too much of a jump to go quite dark here at the beginning you can
slowly build up the value or darken down the value
as we're working. So as I go along I really want to - here I want to
figure out where to stop the background when it touches the figure and also want to
go along the outside of the edge over here and start to clean up the drawing
and also think about the ages that it has. The nice thing about adding more contrast is that just
makes it a lot easier to see.
Or sometimes it's good and sometimes bad.
Okay, so now I've roughed in the outline again
on the shadow side of the figure. So I guess now what I want to do
is go over the shadow line one more time throughout the - down through the hips
here once more and just redefine the the line just a little bit.
So I know where the starting point is for the shadow.
And I’ll darken the shadow after that.
As you might have noticed a lot of repetitive passes,
but every time you do it the shape should get a more defined and once we
establish our values, then there shouldn't be any big passes like that it’s just refining everything
that you have. If my charcoal will get stole as I'm doing this, I'll just put
it down and grab another one because now is when I really want to try to
build up a very flat uniform tone or value.
So, I don't know if you can see it how I see it when I'm standing
here, but I just now I got to have a very hard time seeing where the
ending of the figure is, but the funny thing is when you stand away from it,
then all the sudden the edge becomes much more visible.
So as that's happening, that means you're getting quite close to where it should be.
It's always a good thing to keep in mind that up close the drawing looks quite
different than at a distance and all that matters
is that the drawing functions from where you're standing.
Okay, so soon I'm going to have to stop here.
Okay, so let's do that.
I'm going to take a little break, I’m gonna sharpen up all my charcoals again, and we'll continue.
Okay, so we're back. Okay,
so as Amy’s getting up there
I'm going to keep trying to unify my background.
Again, just keep in mind that the background can still go darker, we can still achieve
a much darker value. If you don't have any point of reference on your drawing,
usually you think that this is as dark as it will possible to go.
But in reality,
you can go a little bit more.
So I'm going to save that last little value for later on in the drawing process.
So for now I'm going to try to finish up
the contrast between the background and the shadow throughout the whole figure.
Okay, and then I'll go back through again as we did the last time and start
to adjust the half tone values.
These big groupings of half tone values
inside the figure with the new value that I placed for the background.
Yo might see me change up the charcoal.
I'm trying to use the green charcoal, soft charcoal, for the background because it goes
on a bit easier. And then when I start working with darker shadow and working on
the half tones, the darker half tones, I’ll use the red charcoal and as I start
working in these lighter areas through here, I’ll switch to using the blue one because it’s a
bit harder, it leaves a slightly lighter line.
Another thing we do a lot when working in the studio is we have so many
different - let me say that again.
In the studio, we have lots of light bouncing around.
So when we’re trying to look at values it’s really good to actually cover your eyes almost like
you’re wearing a baseball hat.
So all that you see are these two little shapes of light of the figure and
your drawing and you can just flick your eyes back and forth between them.
And you can start to judge how much contrast there is.
And again, I judge the contrast not by looking at the area that I'm working on
but I really do it by focusing my attention on the center of the body and
using my peripheral vision to see how much or how little contrast there is.
So as I’m doing that and I'm looking up at her -
at the portrait - I find that the - her eye, for example through here
I don't see the edge at all when I squint my eyes.
So there, these values would become the same. On her forehead
there's a little bit of a difference.
So you can hear in the background I can slide in the background down.
And if I make something too dark
I can always take my eraser,
rest my hand, a check for this actually is if you grab a little bit of charcoal
and you dirty the tip of the eraser - if you can see that -
when you go to erase inside of an area like this
it won't be as aggressive.
It'll be a little bit
more gentle. So as I'm trying to erase back maybe the forehead, I can do that
without making such a dramatic
value change. And that's how we're going to start working if we need to adjust the
shadow on our right side of the drawing. So now my next step is going again
back through the figure. I'm going to use the new value of the background and the
shadow and try to relate that to my half tones.
This process has a name.
This is called keying your drawing.
And what that means is we're just making an arrangement from our darkest value to our
lightest one and just trying to keep every new value at its right value contrast.
It sounds like a lot of words and a lot of complicated things but it’s really
just - if you have one value can trust you can use that one to judge your
next value. So we can trust the background which will be our darkest value, the
next easiest value and biggest value to get will be the shadow,
and then from the shadow we can start judging all the halftones that are touching that shadow
value. So I'm gonna start again with the lower legs. Last time we were looking at
the small value that’s around this area and how similar that was to the shadow. Now
that I've darkened down the shadow, I will need to drop it darken down this tone at the
same time. So I'm going to darken that
value down and also going to see if I can correct any of the shape in
terms of drawing as I’m doing that.
So again from the shadow side to the light.
Okay. So now that Amy’s on break I'm going to continue for again
just a second here with the background.
Just trying to unify it. By changing your direction with the charcoal
you can usually get a good chance of flattening it out.
So any direction is good.
There will be a certain point that you start working on your background and it will
stop actually receiving charcoal it will just keep going in circles.
So when it gets to that point,
maybe it's better to stop and then you can put one more time the darker value
on. Okay so I’m gonna take a break, sharpen up my charcoal again, and we’ll come
I'm just going to continue on finishing up the ankle and the lower part of the leg
there. And then I'll start working my way up.
You don't have to start like this either.
You don't have to start with the lower leg.
I just find that since the legs are a bit darker than the upper body
by starting with the legs it kind of helps keep that hierarchy of values.
It always keeps the upper body brighter than the lower body.
The danger of starting with somewhere in the middle and then having to have it go away
from how it looks in nature and the more it goes away from where it is in nature the harder
it is to to see what you're doing.
So I always try to keep it as similar
to nature as I can. It just helps out a bit.
Okay I’m also noticing I'm missing a little of value here.
This value should go and connect around the edge of that shape.
So I'm going to try to get myself a value there and rework that area
a little bit. I'm just doing that so my
have tone value doesn't get to similar to my shadow value, which could cause some
problems later on. Okay, so if I start going for some information around here,
what I want to try to do is anywhere where the background kinda merges with the
figure, that's a great opportunity to start re-establishing values inside the figure here.
Sometimes you end up fighting a little with the texture of the paper, it’s a bit grainy
but the benefits of that is that it keeps all your edges
a little bit softer, which in general is actually a good thing.
Just one less thing to have to try to achieve.
Okay so I’m gonna sharpen my charcoal, take a break, and we'll come back.
Okay so we're back from our break now.
And I'm going to continue
walking my way around the figure here.
So right now I’m just in the lower back area and reminders just try clean up the big halftone shape there
and organization that just a little bit more before going up towards her right arm as we see
it and then eventually towards her head.
So eventually I’m going to attack the darker mid-tone values first. So again these half tone
shapes are a little bit to cut out looking, that's actually much better than to have
them too soft or fluffy. Okay so now what I'm thinking about is that I have my background
value more or less established , my shadow value which has to be just a little bit brighter in
the background, and then I have to start adjusting the values that I have
and the arm here. So I’ll do two things: one is make a little note of how
much darker the background can go if it needs to.
Again I can always put something that’s completely black next to it just to make sure
that I haven't gone all the way yet.
Because all these values are relative.
It depends on how dark you make something.
Makes everything look lighter. The other thing I’m trying not to do is not really trying to draw the
lines. I always can mark something with a line and then try to almost like
as a limit line so I know
how far to bring things over.
So the other thing I do as well when the model goes off the mode stand is if anything
catches my eye, like here for example, this line looks a little too strong along this
Edge, so I’m just gonna try to eat up a little bit of the edge there or soften it
in a way. Just so it doesn’t look as distracting as it was before.
Okay, so I’m gonna take a break as well,
sharpen my charcoal, and we’ll come back in a second.
Okay, so we’re back again.
Let me see if I can deal with this arm here.
Just something to think about, if you're having trouble deciding on shapes and values like I
am in the arm here, that one main thing that we need to always keep
clear is the shape of light.
So what that means, as I get up here closer to the drawing,
is that this shape of the arm that we have going through here needs to
always be the dominant, visible shape. If anything inside of this is distracting you from seeing
what's happening on the outside of it
that's the biggest concern. Other than that,
you're always welcome to put things down, move them around.
Okay, so when we come back,
we'll continue working up here on the head.
I know from my memory that these values need to be closer together.
And again if you can't see any very clear shapes of where to go through here
right now, the best to try to get the contrast correct, keeping this larger light shape
visible as much as you can and we can work on finding a shape for that area.
Okay, so I think I'm going to take a break now.
Sharpen my charcoal and we’ll come back.
Okay so we’re back from break now.
I'm going to continue working on the head before we have lunch here shortly.
Okay, so we’ll have a lunch break and come back.
So we’re back from lunch now. We’ll have Amy
get back in position here.
Okay, so we’ll take a little break and we’ll come back.
Okay, so we're back from our break.
And we continue on the shoulder area just for one more moment.
Every time I add a new value I have to go around adjusting the other values so that
they all work in a hierarchy and of course as you start putting in something else and then you
see another shape that could be corrected and just constant adjustments.
Eventually this will start looking like a giant puzzle, trying to get all the little shapes to kind of going
in and out of each other.
All right, then. I'll have a break and sharpen my charcoal.
Okay, so you might notice if something is a little bit off in
the drawing. So what I do on the breaks for myself,
especially once I start working with values, is actually take the whole drawing and I turn it
upside down. When I’m looking in the mirror,
this is what I’m mostly seeing,
but I find that if we keep looking at the drawing or painting constantly in the
same position your eye gets very tired, gets very used to seeing this same image over
and over again, so usually whenever the model takes a break actually flip my drawing or painting
upside down and even if I'm taking a seat and just looking and thinking about what
I'm going to do next,
it's great just to give yourself a fresh eye.
A lot of the times we can see if the model feels like it has a
weight on the leg. If not,
the model looks like it’s kinda floating or in a weird position.
Another thing we can do is if we - as we step back,
we can start to see it is an impression of light that’s happening on our drawing at
the same time. We're so used to seeing the light coming from our upper left-hand corner
across the model, now it should appear as if there's a light source coming from the
bottom up in this direction.
This will become even more crucial once we start moving into the modeling phase of the drawing.
When we're in that position,
when we’re trying to model lots of small little forms in an area, that’s where transitions will come into
play and making these transitions function with the form and the light effect, again our
eyes become tired and as we flip it upside down we can start to see if things
jump out too much, if there's any strong edges or weird shapes or forms.
So unfortunately it doesn't make you a better draftsman but it definitely helps you to catch
yourself on any little mistake.
Okay now that I’m noticing in my drawing right now,
as I'm looking at it,
is there some values still that are jumping a bit too much to me?
I think the values through here need to be a little bit closer together,
a little bit less contrast through there.
I think the things that are happening through here,
I think are in a good position for the level of the drawing that we're at.
Okay. So again for me a lot of break time from the model, when the model’s
not posing is me thinking about a new plan for the next 20 minute session with
Amy. Okay, so I’ll have a little break, I’ll flip the drawing over and we'll get going.
It’s funny, once you start work in one area, then you see a million
things that you can go after so it's always a good thing to kind of keep
attention on the big pieces and then try to get the small ones as you can.
But if anything you always sacrifice the small pieces for the bigger ones.
So what I’m doing now is I’m trying to keep the light in the center of the leg and not have
By going over the whole area through here.
I just keep the values constant.
If I only go through this one shape and darken just that one, it’s going to
become too similar in value to the next one and then you start to lose again the hierarchy
of values in that area.
So I find by going over the entire area from the edge of the shadow all the way to the
background, it keeps all the same shapes,
but it just takes the whole thing slightly darker.
And ultimately what we’re trying to show is that the light that's on the back of her
thigh or on her calf muscle here is a little bit dimmer than the light that's
on her hip or her shoulder.
What I'm doing now is just any shape they feel is getting a little bit lost I’m going
hold onto it. And this is the normal process when you're working in charcoal, eventually you have charcoal
built upon the surface and if you pick up a very hard piece of charcoal,
one that doesn’t put down any line,
it just moves the - I don’t know if you can see that, it just pushes the charcoal
back and forth on top of the surface.
So when that happens you start to get very kind of blurry outlines,
which is actually a very good thing because then it's easy to come back with a
sharper charcoal and just go back and try to sharpen up
that area. So if anything is too blurry, you can always kind of just take a
second, redefine outlines - we’ll call them edges now.
And we can find again those shapes.
Okay, but now I’m gonna take a break and sharpen my charcoal
so I'm ready to go and make it back up.
Okay, so we're back from break.
Okay so I’m gonna finish up my thoughts on the standing leg
before moving on. Okay so in here
I'm making a little bit of a mess.
So I’m going to go back through with my eraser to kind of regroup my
values together. What's happening is that all this is getting too close to this value and they're
not separating from each other.
So I need to go back through and start to lighten up a little bit
the value until they start becoming clear again to me. I keep touching her shoulder here because
I find this to be probably one of the most contrasted and also sharpest
points in the drawing so I don't want it that to get too
lost or soft because I'm also setting up - which
I will talk about more when we start modeling - edges through the drawing.
So we need to also always thinking about as we get closer
where is our strongest edge in our drawing.
Just as we’re thinking about maybe where some of the softest edges could possibly be. And this is
really pushes and pulls in and out the figure from the background. If we were to
draw the whole outline here with the same sharp line,
it would just look like it's photoshopped on the paper.
So by losing information and finding it again,
it helps us play with this
kinda sense of depth.
Also that depth is helped by contrast and it's also with the drawing of the shape.
Okay, so I’m gonna put down my mirror for one second and my eraser.
And I’m gonna pick up just a couple pieces of charcoal here,
and I'm going to again prepare myself for tomorrow. There’s not not so much we can
do right now, it’s completely up to you
how much you want to do now.
What I would do for myself would be just keep working on filling in the background
until it becomes a little bit more of a unified value.
As long as we have a little bit of a working room,
maybe about this much or so around the figure,
even underneath the figure, then that's fine to work with and then whenever you have time
you can always go and work on the background more and make it look as nice
as you would like. But I'm just going to spend one more minute around the area
through here and maybe just a little bit around the area where I use my finger to
brace my hand. And then I will call it a day.
So what I do is I always walk back and forth a little bit. If I stay
stationary, I just don't see it as well.
The more charcoal you have in the paper, the smoother it will get eventually.
Okay, so I think I’m gonna call it a day and we'll come back tomorrow and continue
working on our project. Welcome back. Yesterday
we got as far as putting a darker background on our project and also darkening the
mid tones. Today I'm going to try to get as far as I can with the
values, try to get all the values to the correct value and then start to move
into what we called the modeling stage.
The modeling stage is where we spend a lot of time going back and forth between
forms and try to connect them as best
we can, trying to gain as much form as we can while still retaining the
impression of light. As we do this, the the texture of the mark making that we
have done on the drawing will get a bit more uniform and a bit cleaner.
Again this is what we call the ugly stage right now where everything looks a bit
patchy and even unorganized. But hopefully as soon as we refine our values and start pushing
forward, everything will start to clean up and pull together.
So let's welcome Amy back up onto the stand and we'll get to it.
Okay, so I’m just gonna take a break.
I'm going to continue working on the back in just a little bit.
I have some smaller piece of charcoal over here
so I'm going to continue to unify a little bit more.
I'm also going to give myself a little note here and there about how dark I
can actually go with the background of any too. So again I I don't want to
go as dark as that, maybe I can bring the background to become something similar but not
as dark. Again I walk away just to make sure that I'm not going too
dark and too light. In certain areas I don’t have patches of dark and lighter values.
Okay, so Amy’s going to get ready to get back up on the model stand for us.
Okay so I’m just thinking about the overall value impression of the figure.
So I’m gonna make some adjustments again in terms of
larger value masses. And then after we do that, hopefully we can start focusing on drawing out half tone shapes more precisely.
Okay so right now what I'm doing again is squinting my eyes thinking about the overall contrast
between the shadow and the background again,
especially on her legs. I’m seeing if there’s anywhere else that I can adjust any value.
So here what I'm looking for is to make and if there's anything that
gets closer in value to the background, that definitely is a favorable
change. So again as I darken the background I lost again the outline of the figure
so I can always go back and start to place that and if it's a better
place. Okay, I was using the red charcoal there and it actually starts to stop and not get darker.
So if I switch back to the the green charcoal
it's a little bit softer and it builds up a bit easier.
So. Okay, so as I’m squinting my eyes and covering all the extra lights from the
studio here out of my eyes,
I can see there's a little bit less contrast
in a few areas. Just as the legs meet here next to the ankle.
Okay, the neck and the background are almost exactly the same when you squint your eyes.
There’s so much light here that it forces these two values to go together.
So again, we need to
observe the model with our eyes squinted but we're drawing our drawing
we have to open our eyes to try to imitate the same impression that we see.
So if I find that I need to
push these close together, I’ll do that. Again if you need to strengthen your outline of the shadow first so you
don't lose it, go for it.
And then try to bring these values closer together.
Now when you’re up close they'll probably disappear. As you stand back,
you will seem them a bit clearer.
Again I'm ignoring the lights between her legs right now because it kind of comes and
goes, I'm not going - I think I’m gonna favor not having a bit larger unified
shape to play with of her legs. If it was constantly here the entire time then
I would actually draw it.
But again this is my choice, my decision.
Okay, I'm still ignoring any reflective lights, meaning that I don't want to start showing all
these differences of darker shadows and lighter shadows right now.
I'm still going for the overall
value. Again if I feel like I’m losing my shadow edge,
I'll just quickly redefine it.
Keep it visible.
Okay, so I'm going to take a little break here and sharpen by charcoal and I'll
come right back.
Okay. I feel like she needs just a little more hair.
I feel like the foreheads getting a bit big and the hair is getting a little bit small.
So I don't know a little bit more up here for a second.
So you might have noticed me stopping and not putting in line here.
I feel like I can see the contour well until about here and then I was squinting
my eyes looking at her lower back here.
This kind of goes away. So instead of, again, drawing an outline there I’m just going to let it slowly kinda melt
into the background there.
The funny thing about the face it’s really hard to make out in a very clear shadow,
especially around the eye and the cheekbone. The design of the shape around the mouth isn't
so bad. Basically, we can just kind of have something like this.
Which would get us pretty far
with that. So what I'm trying to do now for my self is seeing where - how the kind of flows
over her shoulder and up through her face through here.
And whenever I squint my eyes, the light’s kind of slowing down as it gets through
here, which it’s creating slightly darker half tone as it goes across kinda
like the muzzle area. So I'm trying to do just going to go after that so
I can keep pushing my values through here.
So the head doesn't distract me as much.
And then once I get all the, again, the big value impression of it a bit more under control,
I can go back and rework the face.
and just spend or commit to time there and just get it
more pulled together. But again now still I'm just going to try to get everything else
under control. Turn back down to the foot for a second.
Okay as soon as I’m down there at the feet I’m just going to get that full foot.
a slightly darker value. As I darken the background it makes everything look lighter
again. So like I said yesterday,
I think it's almost like a repetitive process for really kind of trying to find
a shape, make it as best we can and we darken it and as we darken it we start to lose
it a little bit. So then we have to go stop, go back and really find it.
And almost seems like an endless
circle for a while until everything - until all the value start working together and then everything you
do can stay it doesn't have to go and have a big kind of
changes constantly. If you feel like the shape’s getting too lost again
if you go back and just touch the outline of the shape
you can start to bring it back out or you're not actually
playing with the values inside of the shape.
It's just the outline to the edges again.
Really make the shape more or less visible.
As I take my break I’m actually going to flip my drawing around like I did the other
day. And again as we do this,
it’s always nice to take a second and just think about thinking right now.
Again we’re thinking about just the value impression and the way she’s standing.
Okay, so as we do that we can start seeing if we have the light again flowing
from the bottom right here going and dimming as it goes up.
Other things I do when it's upside down, at the same time you can work on
your background. It’s really annoying kind of just doing that the whole time,
you know by flipping upside down
also you're filling the paper
in the opposite direction. So you're going underneath the fibers rubbing rather than always continuously going in one
direction. And sometimes that is actually makes it a bit darker, it helps to unify the value a
bit more. Personally, I don't care for having it
so polished in the background.
I really like it when you get close and you don't see anything of what’s going on
in the drawing. Nothing makes sense.
And when you step back to the viewing distance, everything clicks into place and that's the
I think magic of it.
Okay, so I'm just going to take a break, let it sit upside down and we'll come back.
Okay. So while Amy is finishing her break up,
I'm going to take advantage of the time we have and just kinda work on
the background for a second here.
If you never know what to do,
there’s always something you can do with the background.
With the background or even you can think about unifying the values
on the figure itself. You know sometimes we’re in such a rush when the model’s posing
that, you know, some areas get a bit scratchy and not as unified as we
would like to have them. So you can always go back in and just kind of
flatten out the value a little bit. Again this saves model time.
And you can also do it with with more patience. So
you know if you can think about your drawing without all the stress of having a
model standing there in front of you.
I think almost always now on the breaks
I'm going to be flipping my drawing over,
unifying, cleaning up my shapes.
So when we are working with the model we can spend all the time correcting and
making them better rather than worrying about.
stupid technical things. But making these eyes clear as well,
by the way. They read better,
so therefore when you’re comparing them to the model
they’re a bit easier to get in the right place in the right shape.
Okay just make sure it's secure. Okay, and let’s keep going.
Okay so as Amy takes a break
I'm going to flip my drawing over again
and continue to unify my values and my background a little bit.
So be careful not to like slaw your drawing around a lot because the charcoal is basically floating on the surface and
if you slam it, it’s all going to fall off the front. Which, you know,
sometimes is actually quite helpful. Okay.
So what I really want to do now,
is just go through the figure anywhere where I feel like it's getting just a little bit messy. Maybe through
here or here or through here.
I’m just going to flatten and unify those values.
So I also don’t want to change the shapes too much.
My real goal here is just to clean up the value shapes that I have now.
Okay so I’m gonna take a little break now and when we come back we'll continue.
Okay, so we're back from break.
I'm going to flip over my drawing.
So I know you must be wondering why am I jumping around so much?
I’m really just concerned with trying to get my shapes as best as I can get them.
They’re probably not going to be
perfect yet but for myself I feel like I need to have - I need to be pretty
confident in what I'm doing before I can start committing to them so much.
So I spend maybe much more time than I actually need to. Sometimes you have those
days where you’re really focused and everything works and other days where you’re a bit all over
the place. Or maybe that's just me.
Okay, so we'll have a little break and we'll come back.
Okay, so we're back from break now.
I’m going to continue up in the hip area and lower back.
I’m just noticing this is getting a little bright here too
so I can also push that down in value.
So now what I want to do is just go after this lighter shape that’s here, which we
consider to be the highlight.
But I want to blend that highlight and that next value together for one moment
and then we can we separate them later. By joining them together
you actually gain a stronger light impression rather than just having a highlight dot.
So a lot of people think that the highlights or sorry the light effects
achieve having contrast right next to the highlight
is actually achieved by having unity next to the highlight.
Or the lightest value.
Okay, so I'm going to keep going here while Amy takes a break and just again
clean up any of these shapes, any of the values.
Another thing we can think about with our shadow line is every time we go and correct that shadow
line or darken it, I should say
even better dark exactly at the meeting point of this latter half tone,
it's always nice to have a little bit of a gap.
So as we’re making kind of a mess here,
we just take advantage of that mess
and you start to choose where the lines going and not worry so much about trying
to make all this perfect because there's always this kind of half tone
that goes along the edge of a shadow. It’s very hard to pick out so just
as a way of working it could be helpful.
Just start leaving a little bit space between where the actual edge of the shadow that you're
drawing and this lighter value. So you can see see here
we have a little bit of a space and that helps the kind of turn the
form. So by putting the edge just next to something that’s quite bright it kind of
flattens the form out. So if we’re explaining a form
that's quite flat which will be some of these areas possibly or bony area.
The shadow line can be very sharp and it would just be just at the edge
of the light. And by having a variety of these kinds of edges, it brings a lot
more life to the drawing and makes it feel much more naturalistic.
Okay, so I'll take a break and sharpen my charcoal and we'll come back.
in the upper body while trying to keep things unified and constantly trying to refine
my shapes and my values throughout the whole drawing.
So nothing gets left behind.
Okay so I’m just kinda following this kind of little highlight as it moves around her lower back over
her hip. I never wanna close any thing off,
I want to keep the light flowing through her body,
which is another thing that enhances your effect of light.
So again what I'm doing here not trying to change too much I just remember the arm has
a bit more contrast so I'm just trying to pull the arm away from the body a
little bit just by sharpening up
the outline of it and also integrating the outline into this darker toner underneath. If you ever have have that situation where you have a
dark background and it looks like the edge,
you can't see the half tone on it,
you just take a lighter piece of paper or cloth and you put it behind the leg for
a minute or behind the figure. It will help you to see that the
outline is a little bit darker. Darker as you get towards the outline of it.
Okay, so I think we'll leave it like that and we'll come back after lunch.
Okay, so we’re back again after lunch.
Okay so now I feel like I'm getting closer to establishing all the big shapes of
halftones throughout the body. I'm going to keep with that same kind of thought as we
go forward. I'm just continuously adjust shape designs.
So basically just the proportions of the shapes I’m making and then I’m also going to try to unify the values
as much as I can and try to connect them.
Right now we can see in mind that some parts is working
okay, but there's other parts where I just jumped around a bit too much. tThe same
thing as it comes down through here.
So our job is also to try to record the information correctly
but also we need to let the light pass through this whole area at the same
time. So a lot of what I'm doing is just going back and forth, keeping my
eye after a shape and thinking how this one moves to this one.
You know, we have one larger shape through here.
Okay, for example. And we have smaller shapes inside of that one and the idea is
to keep the big shape
introducing the smaller ones but try to do it in their correct value relationship to each
other. Okay, so that's just verbally what I'm going to try to do
with this next post or the next poses we should say.
And this just takes a lot of time again.
So no rush, just stay concentrated.
I’m gonna try to unify the shape that’s in the back of her arm here, I think it’s
getting just a little bit kind of staticy. So sometimes with the eraser, we can go through and
just kinda hatch over it. It will light up the value just a little bit.
But hopefully it will unify it and then we can darken it again.
This is one of these really hard charcoals.
I put these aside, almost like they don't -
one of these guys. They almost don’t make a line, which is great for unifying.
Because all I’m doing here is trying to push the holes in the paper
which will start to make the value a little bit flatter.
A little bit more readable. Again I am not so worried about the background thing too perfect right
now, though. Against the background is eally there to support the figure.
It's not, you know, no real other function than that. That's why I say that the darkest value for
later point in the drawing whenever I need to really pull something out,
I can feel a bit a little darker values through here.
And then it should pop out of the drawing just a little bit more.
games Night Trap soundtrack on my back I guess we're back from break now.
Okay so Amy’s going to have a little break. I’m going to spend a second before stopping and just unify my shapes
again. The thing with that back there I think is actually if I unify it first make it
all one kind of something, making it all one more or less
value then I can always go back and add other values to it.
Sometimes you can put them all down and juggle them constantly and sometimes it’s actually better to
go unify them a bit more, makes it simpler.
You make it easier for your eye to continue working with it.
So I’m gonna take a break and sharpen my charcoal.
Okay, so we're back again.
Just keep going with the same thing here.
I noticed on the break that these values are now getting a little bit too close and it’s not reading
quite as clearly as I would like it to.
So I can lower or as we say darken the value of a little bit more through here,
but just enough to get the edge of the shadow
back to do its job.
Okay but I think I will take a break and sharpen my charcoal
so I'm ready again when we start.
Okay so we’re back from our break now.
So this will be our last session for the day here.
So again, I think to set myself up again for tomorrow,
I'm just going to keep going around the figure and just trying to just value. shapes,
and grouping of the values altogether.
Try to see if I can work on her
kinda like hip lower back area, I find that to be the most bumpy.
Okay so I’m spending a second here to kind of finishing up
my thoughts. Just trying to make these shapes just a little bit clearer -
that’s too much - for the next session. Should be three different ones. There will be a dark one here, a lighter one,
and an even lighter one. Okay, I think I’m gonna flip it upside down and see if there's anything
else that jumped out at me.
Okay. So the next time I think we'll continue working on the portrait a little bit
more on the head, on the shoulder, and then I really want to concentrate on trying
to resolve the sensation of form and the light that goes down the figure
and try to give it a little bit more dimension.
So I think I'll call it a day and we'll come back for the next pose.
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,