Hey class, welcome back
so today we’re going to switch to a different medium
which actually is a little more challenging which is a - we’re going to be using a marker
and the brand I’m using is a Tomboy marker
and then it
involves more careful observations and good things, always good to
really slow down to focus on what you see and produce
more honest drawings and so we’re gonna explore that
with the marker, we’re gonna be drawing both on the white paper and also on the toned paper.
So let’s get to our drawing.

This is gonna be
five minutes. Sorry about my voice today
I’m a little bit under the weather. Okay let's
get started. Five fives.
(drawing)
So right now right away I’m trying to get a sense of
the gestures and the rhythms and
by supporting
of the shapes.
(drawing)
So here’s the
back of the neck here, it comes to the top of the shoulders
right here.
(drawing)
I’m gonna use this U shape
of her necklace to bring down the gesture
and again I love accessories like I mentioned last week and I’m gonna use that
to also reinforce
the
gesture idea.
(drawing)
Breaks out the silhouette.
Again still wanna feel for me coming this way so I want
this side of the bra piece to be more
dominant. See how the
little ellipse
like it looks like cone shape
I want to angle it this way. In here
I want to angle for up to the right.
(drawing)
Be aware of the pinch versus stretch.
Feel how the silhouette flows.
(drawing)
Be aware of the
negative space.
(drawing)
Keep the highlight right
the corner of the hair.
Stretch up the neck.
(drawing)
The silhouette.
Just traveling down.
(drawing)
Go back up this way.
(drawing)
Bottom of the wedge of the hands on the -
I just placed that in shadow first.
(drawing)
Not sure what that dark thing is in the back but
it helps to serve to clarify the contour of her back
which that could be useful.
(drawing)
That’s the ribcage and that shadow’s the oblique.
(drawing)
Find out the width of the eyebrow.
That’s going to help us to find
how wide the head in terms of
where the front meets the side. Because the corner of the eyebrow is gonna help us to
(drawing)
show that.
(drawing)
Again be very careful of these relationships.
Again these necklaces help to
wrap around the volume of her neck
it goes up and comes down.
(drawing)
A lot of times we get this - it can just be abstract
graphic shapes. Still want to unify it. This whole shadow merge into
the shadow next to her head, next to her face, actually will help
to benefit to, you know, to bring out
you know the silhouette of the face.
So you can just kind of
make it up by the benefit, you know, whatever the
benefit -
the design is benefitted by bringing out the face in this case
Benefit to
clarify some busy sections.
(drawing)
See angle this, angle this, turn that pelvis.
(drawing)
Larger shadow,
smaller shadow.
(drawing)
When it gets quicker
for example
the blue pearl I don’t even need to draw it. Just draw
for time being we only got five minutes,
just draw that one in the center. Just to guide to that
center line of the body, you know, maybe that’s enough. The rest of it in this case
I do just kind of make it a - some kind of impression of
you know some type of neck piece
goes over it but I don’t
spend extra time doing the smaller detail. That’s a warm up when I start drawing
At the beginning of the day I usually
just like any sports you start putting more and more and once you start getting warmed up
things become faster and faster and you start knowing
what to leave out.
(drawing)
Break that silhouette
(drawing)
All this
can be helped again to create a sense of dimension
coming forward, goes back,
can be used as a transition.
To guide viewer’s eyes.
(drawing)
Again at this point sit back and look
at overall.
(drawing)
Clean up some of the
shapes, bring out some of the
clarity, you know, still kind of
start off a little messy
to begin with so I’m gonna come back in. I try to
think this is the fourth drawing, somewhat kind of
already got a little, some warm up to it so I
can afford to start a little
crude and just to see if I will get some kind of what we call
happy accidents, sometimes enjoy those
happy accidents. I can learn something from them. But at the same
time, if I
kind of get too carried away the drawing might
you know, might suffer because now
even I get lost. Almost it’s like you travel
somewhere and
you start running away and get so excited and start running around
places and then you get kind of lost
So now I need to come back and look at the map
and to start clarifying some of the stuff.
(drawing)
Gonna get that keystone right here.
(drawing)
So she’s going away from us.
(drawing)
Narrower.
She’s going away from us so I’m going to squash the bra a little bit so I feel like this goes
put some stripes to indicate the
volume and perspective of the bra.
(drawing)
This arm goes back.
(drawing)
Out, straight.
(drawing)
Straight, angle.
(drawing)
Wider, shorter.
(drawing)

 
So
I’m gonna try a different medium. This is a Tombow marker
and you can get this pretty much
at any art store. The marker has two sides. You have this bolder
end, this looks like a tip got a little worn out
so you got this more of an organic
shapes and it can create this kind of
raw almost like a brush pen type of strokes.
And then you also got the others and which
it’s smaller
it gives you this more of a cleaner
more precise strokes. So usually often
if I start
beginning of the day I might use just the thin
side to have a little more precision
and then I’ll use the bold side
and later on that starts getting a little bit
you know, the lines can get a little bit wiggly
and so I need to be a little more warmed up
and you know my eyes need to be more warmed up so my drawing
to come out right with the bold side.
And then sometimes I’ll mix both. And I will show you guys.
So that’s what we’re gonna do during these three eight minutes. SO
I’m gonna start with the fine side first.
(drawing)
Again this medium I think
is a little more challenging than any other medium that I have been using. The ballpoint
or the fountain pen because it’s so
aggressive. Once you put a mark dark, you know, it’s there. It’s harder create the light
and the dark, you know, the light and dark
transitions. It’s just pretty much just dark.
(drawing)
So that means you have to be a little more careful.
(drawing)
Still have to - the concept still has you know the same entire drawing concept.
Finding the center of the head, center of the neck and finding the center of her
her torso.
If you use more of the side of the marker
it can actually get a pretty fine
and light lines, versus you use the tip gets more darker. So you notice
I’m gonna use a lot of my side
(drawing)
Wraps around, I still want to feel this gesture
(drawing)
I’m gonna try to make every shape unique.
Every shape has a life to it.
(drawing)
Breaks up that silhouette.
(drawing)
Practice, you know,
also at home, practice drawing twists.
You’re gonna see a lot of times, body begins twisting.
The dress gets all twisted, the fold ends up twisting,
So just try to practice enough so you can feel comfortable,
almost automatically you can feel comfortable to draw
(drawing)
a form that twists.
(drawing)
So you notice that the
marker it felt more or less like a comic book strip
and then - so it’s
such a strong contrast, dark or light,
and so it’s a very dynamic medium.
At the same time like I said, you have less room to
make a mistake because it’s louder.
That means you have to be more careful, you know,
observe more carefully.
(drawing)
I like
that light shape versus that dark,
you know dark shape of that
collar, her neck, goes up and falls down and kicks
out. I probably made that distance too far but that’s okay
it kicks out to that shoulder. See how that
this shape right here. I like that shape.
(drawing)
So I’m gonna make sure I design
this most
(drawing)
eloquently - or most dynamic or most fluid.
However you want to
tell stories. So right now that sticks out
like a sore thumb. Hopefully once I add some other
dark area that won’t stick out so much. And so I need
to work up more.
(drawing)
Even though from what I’m seeing this whole strip here
feels quite even. I’m gonna still make it more narrow here
and more wider towards the top of the bra.
(drawing)
So I have to watch out. Right now I’m a little concerned about
this
that ribbon, that
(drawing)
you know this ribbon right here that looks a little too similar
it might compete with each other. So I’ll see later if I can
adjust it and I’ll adjust it. I know this should be
the top part should be more dominant and that should flow to this and this should be
the support and I’ll see how it goes later on
into the drawings.
(drawing)
Okay I’m gonna
switch to the bold side because you know it can probably cover some of the
darker quicker. Dark areas quicker. So I’ve got some
cast shadow right over this part of the
hair from her hand
(drawing)
Go back to neck, goes to the front of the neck,
(drawing)
So I’m gonna - right now I’m gonna try and merge all these
darks.
(drawing)
Sometimes you can
you don’t have to complete that full ellipse, that full circle,
(drawing)
Bring that bow out.
(drawing)
Maybe keep here a little more calm, but make sure
to make this maybe a little bit longer than this one.
(drawing)
Where the silhouette - see how they end, how
this pieces hat waist piece, ends and then the leg begins. So we got that
arm, we got the waist, we got the legs, they all, you know,
have their own clarity.
(drawing)
Where’s your key gesture? Key gesture
is around this way. So it doesn’t matter how you twist and
wrap around that shape, right here the pants. Overall at
the end you still have to swing this way.
(drawing)
So now you can see I got a little bit further with that one.
And almost looks like
one of my
favorite fantasy artists is Frank Frazetta
and well he used a brush pen so
that’s even more tougher, I think that’s the most difficult medium to use is the brush pen.
But like I said you get that
illustrated or comic books feel to it.

Okay. So this is going to be a 15 minute
and then switch to our tone paper.
(drawing)
So let’s see. I’m still using my -
since I now have 15 minutes I can still be a little more careful and more precise
with my...
(drawing)
Be aware of the width of the
eyes.
(drawing)
Looks like this side of the shoulder is a little bit higher.
Lift up this shoulder and this arm comes down.
(drawing)
And usually we have a strong fold
coming out over like this. Look at the contour
It’s probably gonna push up contour
(drawing)
Again always leave some
little moment of
like I said if I paint everything, all this big - these large shadows
if I paint against that fan I’m afraid it’s going to be too cluttered.
So I want just a little light to kind of peek through.
I’m actually not
making it up, it is how the model - that's
how I see it. And also for
design wise I want
that clarity.
(drawing)
See how these all kind of
looks like a scale kind of radiating out
down like this.
(drawing)
Kinda swings over this way.
(drawing)
Again show where that leg is underneath.
(drawing)
Organize my patterns, my
dark and light pattern and also suggest my shapes.
That balance.
(drawing)
So again
use the white also as a
guiding, you know, guiding tool.
to bring the viewer’s eyes to how you
want it to read.
(drawing)
Bring your eyes here, bring your eyes back up.
(drawing)
Show where the top of that knee.
See how the leg
follows along this corner right here?
(drawing)
Okay.
(drawing)
So we experimented on the markers. It’s more challenging for sure
but it’s - the result, like I said, it’s going to be
more dynamic, it has more stronger contrasts. Also like I said
at the beginning of the class it involves more concentration and be more careful
you know blocking those shadow shapes because, you know, you can’t screw up
and then like I said it’s a great transition to painting.
You know because when you paint you’re going to do the exact same thing, you have the toned canvas
block the shadow mass and working from that.

Okay. So this is going to be a 15 minute
and then switch to our tone paper.
(drawing)
So let’s see. I’m still using my -
since I now have 15 minutes I can still be a little more careful and more precise
with my...
(drawing)
Be aware of the width of the
eyes.
(drawing)
Looks like this side of the shoulder is a little bit higher.
Lift up this shoulder and this arm comes down.
(drawing)
And usually we have a strong fold
coming out over like this. Look at the contour
It’s probably gonna push up contour
(drawing)
Again always leave some
little moment of
like I said if I paint everything, all this big - these large shadows
if I paint against that fan I’m afraid it’s going to be too cluttered.
So I want just a little light to kind of peek through.
I’m actually not
making it up, it is how the model - that's
how I see it. And also for
design wise I want
that clarity.
(drawing)
See how these all kind of
looks like a scale kind of radiating out
down like this.
(drawing)
Kinda swings over this way.
(drawing)
Again show where that leg is underneath.
(drawing)
Organize my patterns, my
dark and light pattern and also suggest my shapes.
That balance.
(drawing)
So again
use the white also as a
guiding, you know, guiding tool.
to bring the viewer’s eyes to how you
want it to read.
(drawing)
Bring your eyes here, bring your eyes back up.
(drawing)
Show where the top of that knee.
See how the leg
follows along this corner right here?
(drawing)
Okay.
(drawing)
So we experimented on the markers. It’s more challenging for sure
but it’s - the result, like I said, it’s going to be
more dynamic, it has more stronger contrasts. Also like I said
at the beginning of the class it involves more concentration and be more careful
you know blocking those shadow shapes because, you know, you can’t screw up
and then like I said it’s a great transition to painting.
You know because when you paint you’re going to do the exact same thing, you have the toned canvas
block the shadow mass and working from that.