Now the whole point of this class is first, there are two
different parts. One is the materials, working with vine
charcoal, and the second part is you sort of might say the aesthetic
side. What we're focusing on is being able to take and work
from outside of figure into the figure and this is a basic
problem a lot of people have. They can focused on just
drawing the contours of the figure
and what we have to focus on is being able to use all of the
paper. Okay. So first let's take and look at the materials we're
working with.
Now this is
vine charcoal.
Okay, really the classic. I like to think that
actually fire was invented so that we could take and the
artist could take and make charcoal.
So it's - going back now, I actually take and you can
sharpen this and I use a sand pad or taking and using a
knife, very soft and very different grades of charcoal.
Some of the stuff I've got is vine charcoal. There's this is a
medium grade
and I'll vary the material as we work.
Now some of the advantages of vine charcoal
is that it is incredibly fugitive. In other words you can put
a mark down and let's just take and
do a little a bit here. Now, in other words if I just take and put
this tone down.
Now come through. See it move it around with your fingers. I
can just take it and it'll disappear almost so that's
that's the really the big thing. Now here's another
charcoal is that this is a really heavy - you can see this
is a very thin
piece. Now, let's get the very dark.
But still you can take and move it around and that's the
charm, the charm about charcoal, vine charcoal, is that you can
do - it's very different than the compressed charcoal. That's a
whole different media. This is vine charcoal has a certain
quality about, also the paper, the paper should have a bit of
a
tooth to it. It should allow you to take and push lot of allow you to take push
down. I don't use newsprint for many reasons. One, will Dare for many reasons one.
first of all, it tends to be a little slick you can buy
different grades. But if you do a good drawing on newsprint,
you might as well throw it away because or unless you're working for
the camera. Okay. Now we're talking about going from the
outside of the figure to the interior of the figure.
So let's just take and...
Now as you can see with the vine charcoal, I hold it and I
handle it exactly the same way I would a regular pencil.
Now so
beginning with I'm taking and
feeling a gesture.
Through.
I draw, I feel flow. Now this one of the points they one of the points?
I like to try and clarify all the time. When you watch me doing
the drawing notice that I'm constantly rehearsing the
stroke of the pencil. I'm taking - as I'm doing it I'm
taking and constantly feeling how the form is going to take
and go.
So I'm going over, around.
So as I work with is now one of the qualities of the vine
charcoal as you're building form up you get - and even as I'm
feeling for the gesture, you actually start to get a sense
of the whole figure. You actually feel the thing. So
when I'm drawing then I taking and
already at this point I'm taking and getting a really strong
sense
of what the volumes are.
So as I'm pulling through, and come back then coming down,
figure. He's crouched from here, maybe turned.
Okay so now
in doing this then I'm coming through and I'm saying, okay,
we've got this movement going.
Now last week we focused on the the shape of the thing, how we took
the individual anatomical shapes and push one shape
fitting into another shape. Okay. So as I do this then, I'm
coming through
and I'm visualizing formed coming across.
Now
I'm pushing the tone, going back, so I can take and I can soften
these, I can feel the atmosphere
pulling in.
In Figure Drawing One we talked about the atmosphere, air
coming in between. So now I'm going to actually taking and
using basically that atmosphere, but I'm pulling
the tone through,
coming in.
Now part of this as I'm doing the drawing I want to take and
suggest the whole figure without necessarily
drawing a line around it. I'm not interested in having a
contour on the thing. So as I'm coming through I'm hitting
here, coming across.
So you're creating and seeing the
a movement
with just subtleties of tone
and bits and pieces of accents as I'm going through the
figure.
I'm visualizing that simple volume, going through.
Feel the shoulder lifting up.
Going underneath the bit and of course, I'm drawing from
imagination now, I'm just really experiencing this
figure
as I'm going through.
Sensing volumes
So I'm leading the eye with sequence of tones and just
accents as I'm doing the drawing.
At the same time I would be taking into consideration now.
Areas around the figure maybe bringing in drapery.
So
now you can see that this just tone that I put here really
becomes part of this movement that we've got going through
here now.
So I'm keeping the eye, keeping the eye moving.
And I can take and soften these forms, soften the tone just by
touching.
Now
you end up getting if you're working with a very
free the way I am, you end up getting a
paper sort of a
tonal quality to the whole drawing. drawing.
You will find that
from practical terms
that the drawing, the drawing,=
works a lot better if you're working on a larger scale.
You notice that a lot of the times, a lot of the drawings I
do, I work really quite small. If I'm drawing on my pad it's
course is small but a lot of times sketchbook drawings
working with a pen, small. Now with vine charcoal really
invites you to take and draw at a different scale.
Now there's some of the disadvantage of the vine charcoal.
Or
as I can very simply I can just take and rub it, you have to
sort of protect it too because it's very fused too, it's very
prone to
taking and being affected by
physical, in other words rubbing against another paper. with another paper
But it has a really beautiful quality to it.
One of the reasons I don't use it very often is the fact that
it is so fugitive.
And also just the scale,
you start then becoming a combination of the size
and the fact that the
material
can be damaged so easily.
Now a lot of artists have used
the charcoal like this it has a really quite
beautiful quality in taking and working with doing portraits.
So that you can be doing on a
little bit smaller scale.
Now you can see how I'm taking and the tones,
the accents, how I'm taking and bringing the air into the
figure, the lines follow a combination it's no - I'm even
letting the line be broken here, feeling the tone coming in.
Through. Here I'm going to take and pull this interior,
into the interior more. So now we're moving through, we're
taking, coming across now.
Well, I'm pulling it right into this mass.
Through.
And I'm going to push the tone
behind.
I know we can feel it's actually going from say
thinking of this dark
that I'm letting the light come through and I'm going to pick
up a darker tone now.
Through.
Through.
When you're talking about bringing from the outside
inside, the main element that you're dealing with is, of
course overlapping.
So I'm constantly focusing on what the forms are, what forms are
coming in,
how we're overlapping one form to another.
They all simply youcan adjust and change, create.
Feeling pull.
Now the paper itself makes makes a big difference.
As I was saying you can't use a very hard slick can't use a very hard slick
papery very
effectively. I mean you can do it, but you're not going
to get the same quality as a paper that has a bit of tooth
to it.
Charcoal paper of course works.
And it's basically made
to take and work with charcoal.
Now
for myself working with it
I find a strong
pull into taking and using, creating sort of abstract lines
that work from the outside into the interior.
So we can feel the pull.
Same pull,
tones in.
You can constantly be going back and adding darks or taking
the darks out just building
material that you can take and push around.
As you can see it's not the,
how do I say, cleanest material to work with. You tend
to have to
contend with the fact that you are going to get
charcoal on you. Gotta build with it.
Feeling the form pulling in,
over,
and really pushing the form going behind,
so that as I'm doing this now you're seeing
less and less of what we consider a continuous
contour to the drawing. It's constantly taking and moving
around, pushing through. I can constantly be adjusting it.
I can come back and down right now. For instance I just say
well if I take and change, change the direction and say
taking, making the head turn.
Very easy to take and start to play
with
the spatial elements in your drawing.
Okay, I think this is beginning
to start seeing
how the material moves around. So now we'll take and let's
take and do some drawings. We'll look at the model and see how
you can actually emphasize. One of the things I want to point
out and I'll keep repeating this is that
I do not copy the model. I'm always analyzing the model. And
in this case not even using a model, doing a drawing from
imagination. Material is very flexible, it allows you to do a
lot with it.

Let's take a new work from the model here. And so as I'm doing
this -
and in this pose particularly with this
model here, what we're seeing
is
fairly simple
and I particularly chose chose this pose because it has such a
strong contour so that
because of the contour being so strong
the natural tendency would be not to take and change that but
I'm taking and I picked this so that I can change it. So in
other words, how we can take a contour that is fairly simple
and actually start to work with it a bit more.
So pull through,
Now, I'm really trying to feel the flow feel the flow
figure. And the fact that she's really shifted,
you can feel the pelvis going to one side and even here to take and
try to get
in here the fact that there's a compression taking place.
Come through.
Coming in.
Feeling the flow.
For instance now as I look at the model what I think of it
in terms of a compositional element, we've
got this movement going this way as I come through, come back
into this, the leg going over here and although she's seated in
here you feel the leg now, the other foot coming out from
behind. It's not particularly attractive thing, but the idea -
I look at that as a line, this line, then working with this
line with the pelvis itself slightly shifted and
then the whole movement going in the opposite
direction.
So I start to pick up these lines now pushing out, head
coming back. So now
trying to think of form. We're feeling this as something
that's pushing out. So I'm coming through.
Feeling the pelvis or the spine coming down.
Feel the stretch coming through. So now in
a way I'm focusing on the pelvis pushing out.
So this is a line now that's coming out and I visualize this
now as coming into the interior of the figure.
So as I'm doing that then, taking and emphasizing the fact
that the dimples do - the sacrum is tilted, the pelvis is tilted,
feel that coming across.
And then
we naturally with the figure going in this direction, we're
picking up a compression. And so I want to feel the roundness
now, the pelvis come across, come over.
One of the things that
often when -
it's not quite so obvious here,
but if you didn't see my hand,
you'd be surprised looking at a video
about how slowly I actually draw.
I don't draw very quick.
I'm really taking my time
and coming through.
Thinking of the volumes, here I'm actually being very very
conscious of the fact that she's compressing on the
surface here.
So we can feel this this coming down, coming
through. Now this is a little bit smaller scale than what I
was just doing in the opening lecture.
And this is very close to what would be just a normal
drawing scale.
Now one of the points is she's really tilted and going
over the feeling the shoulders taking and picking up,
going off in this direction. So I'm really trying to think of this
tension going out here, shoulders coming across, and
building, making that thing - I'm really thinking of the rib cage
underneath.
This volume going through
and this shoulder is pushing back.
So I'm thinking here the rib cage or the scapula and the
serratus anterior, all of this volume in here but at the same
time as I'm drawing the ribcage here, I'm taking and following
through that on the other side.
So it starts becoming clearer that we're
getting a compression in here.
Now
with all this compression we're taking, we're pushing in
things. So I'm really taking and this point pushing this stuff
back inside.
And in fact sh'se seated here like this, iscoming down. We really
now I'm gonna pull.
This isn't necessarily that obvious and at first impression
when you look but this is taking and coming down.
So as that comes down and now you can start to see that the
leg, the buttocks here, is coming out from behind. So we've got
this air coming in between,
coming through. And this surface here now is taking and
pushing and going around. So now we've got a whole
combination of volumes that are taking and coming into play here. So
we come through,
around.
We can start to feel this pushing back
and
now to make this feeling of she's dropping I'll take and emphasize
now and again I'm taking from the interior.
Taking and pulling out from that and so you can see now how
I'm emphasizing this form pulling down.
So
the vine charcoal now, it's giving me a lot of very subtle
way that forms. And so as this drops in the other side now,
I'm going to take and even continue this drop, but now as
the leg pulls and goes back in, we have to take and feel
there's an overlapping. So again, it's these volumes. I'm
thinking from the outside,
this is pulling into the interior now.
So and we can feel the fullness of the form dropping
through.
So at this you're really interpreting now, really
interpreting that volume.
And so this is pulling in,
and we feel coming out from underneath.
So pull the line into the interior.
Now go across here. I'm taking now we've got, pull the pelvis,
really push the corner now.
So we're feeling the shifting.
And we can emphasize this even with
feeling the way the tone's now coming through.
And this becomes part of like what we were talking about last
week. Now, you can see the shape, this overall shape now is
taking and pushing up.
And yet I'm not enclosing it. I'm not making the shapes
really precise. It's just you look at it. And you feel you
can feel the shape, feel this fitting in, you see this coming
from behind and so now I'm shifting,
pulling this down,
and we can start to see from here now getting the same sense
of where the muscles are coming into the pelvis, but I want to
pull this line down. Now
as I'm doing this it really requires a fairly delicate
touching. I have a very very delicate touch as I'm taking
and doing the drawing now.
Use a combination of tone, line, smearing. Now I want to come
from behind.
Pulling the - letting the air come in between and I'm
really going now start to feel
this volume
overlapping.
Oh and also obviously, I'm not
paying particular attention to the tonal
arrangement that we actually see on the model.
I'm totally taking and focusing on forms overlapping, going
through.
And I come across I want to pull this leg out over here and
feel the line now moving down.
And that vertical, the vertical of the stand now is actually
useful, feel the pull dropping down.
And even taking the cue from the stand,
the sense of the cast shadows,
we can suggest.
Now these are useful because what they're doing now is
they're taking and
creating forms that are dropping down. Now I go back
up and
what I'm doing is I'm turning my hand in this way is to sort
of avoid putting my hand on the paper.
I want to take and feel, without smearing what I've done
here. Of course you could have taken and started at the
top and worked your way down but
I didn't.
Okay.
Well I'm feeling the pull.
Now I'm going to take in pull this right in, taking that line
and get the shoulder in the back here really pushing up.
Carrying this into the head.
Now here, I'm going to pick the - put a tone, the scapula
doesn't really exist up there
and feeling this edge.
So this becomes something that's helping the eye move in
this direction and then I'll take and coming underneath,
in here. So these are all purely to take and make the eye
move
in that direction.
So now I'm coming back in with this arm and instead of taking
and where the arm is coming down through here, I'm going to
take the arm and carry it behind more in here.
So that line now, that creates the feeling, this
shifting that's taking place here.
And then playing along with the idea now, I'm going to
take and turn the
the stand here a bit, creating an angle.
And coming down and then taking and indicating the leg, taking
coming across.
So now we get this shift the movement pulling and now I
can come back in and think about how I can pull the line of
the neck.
And lifting the chin.
Really focusing on the overlapping of these forms now.
And the head really turned, I need to take and...
Here come down.
Notice how I really just suggesting, so I'm sort of
searching, searching for
forms.
Now since I've been doing all of this I can see now that I could
take and do a little bit more of the opposite feeling the flow.
So looking, seeing that the hair becomes a good excuse to take
and start to create
lines going in the opposite
direction.
So
I'm going to take use the hair then as an excuse.
You see there's a strong rhythm being created.
Overlapping,
see a lot of this is just becomes indication.
The building up this direction then I'm going to
take and create more of a sense of a
hollow in here in that the forms now, that shoulder's coming
out. I want to push.
all of this.
All of this stuff move into the interior of the form.
So you can see how I started out with the idea that
I picked this figure because
there's such a clear outside contour, but now I'm taking and
totally changing that contour.
I need to pull the arm out a little bit farther.
There you're just seeing the beauty
of the vine charcoal, how you can take and really
adjust.
Okay, now see we see how that why now is I'm coming down.
This pulls into the line that we've got coming down
through here.
Now, I can take and come around. I want to emphasize - I'm
gonna let that go this go.
behind
and again I'm gonna now reinforce
this coming
through but we still get the idea that that line is coming
down.
And then I'm pulling again from behind.
Through. And doing this and
so we're getting that strong strong movement pushing down
and at the same time now, I'm going to take and come over and
feel the compression, feel that this surface is coming around.
Now we're seeing the effect the figure's compressing. Seated on
that surface.
Now keep the movement going down this direction by taking
and creating.
See I'm just taking and I'm slowly adjusting all of the lines
as we go through.
Pulling down.
Coming through.
Really getting like hanging over here. And well, I
need to make this feel a bit fuller.
Coming through. Now all of this is going back. So we need to
get a sense of the corners.
And pulling from underneath now, so this is going to be
fuller.
Picking up.
Now we're working around.
Again, notice I'm not
dealing with the tones of the light that I see on the figure.
Pull the leg behind.
Comes a line now that's going through.
Now go back and pushing.
Okay. Now as we've been working with this now, the whole idea is
to create this flow. I've pushed, we're getting this stuff coming with getting this stuff coming
down. I've taken and totally getting away from the contour
that we see so I want to feel the roundness of this as pull the roundness of this is
it comes down.
There's a compression, compression, compression.
Now in doing is I also need to emphasize the corner here. This
is really sort of neglected the fact that now this is really
taking and coming back and we really want to feel the pull this
way.
So now it's the complement of this, taking and going up. And we're
feeling the compression. I'm taking and bringing a tone
completely in.
Through in here. So we're feeling I've created this
hollow,
through,
and we start to and we can still I feel the
stretching.
But I'm doing it in a way that is
just working with the lines and the tone so you can see how
what I'm doing is I'm composing the drawing.
Take and create the movement.
Pull,
through.
The drawing actually - now as you look at the drawing. It has a
feeling of having been done rather quickly. Obviously, you
can tell that this has not been a quick drawing.
I've been working on this for quite a while now, so it will
still build.
Coming through. And I can emphasize this movement.
Through.
Feel the pull.
Gonna take -
just this will just become a an indication of the leg. I
think the foot -
the image of the photograph is not a very attractive foot. So
I'm just going to ignore that right now, but we get
the pull. You can feel the flow and the movement down.
And picking up the line vertical we're getting a really
strong shift now.
You can see I keep adding tones. So it's keep adding tones. So it's
really very abstract now, you're feeling all of these
things now are pushing up and I'm taking and dropping.
the line of the arm behind.
And even the head now just becomes a
element that is lifting up.
And I'm really letting it basically
go behind just suggesting, I can take in pull with the hair now, come
over.
Okay, now it's hard to pull down.
Constantly pulling from the outside into the interior.
There's no - I don't look at the contours as a
boundary.
There's no
contour to here now. I'm taking, come back in, as I've
been pushing my hand all over the place here. Now we can
pick out
and emphasize a little bit of the light here.
Picking out, cleaning up a little bit here.
Now in the next drawing I'll take and do a little bit more
with the using the tone and then with the ability to come
back in and
pick out
some of the lines. A little bit more of an
aggressive approach to taking and doing the drawing
But this gets us a good start. You can see how we work
with tones. We work with the lines, we take and have no
restrictions in terms of a contour or the light or
anything. Everything is completely
open
and what becomes the important part is really the abstract
element
of the drawing itself. There now that taking and feeling
compressing even more. Than as I do that I see I need to
take and carry this down a bit more and I can take and pull,
feel this atmosphere in between.
Yeah.

Now, I'm going to be a little bit more aggressive with this
drawing
and take and
push things around a little bit more.
So start with -
like I said I'm being a bit more aggressive. I want to
feel
You can see I'm flowing and feeling my way through
the figure.
And out.
Now
being able to take and things around it's really again the
real big advantage of taking and working with this charcoal.
Constructing,
thinking which way that is going.
Giving me something to start with here already. Now I can feel
the shoulder pushing up.
I was actually really reinforced or introduced
to doing figure stuff like this really as a
teenager.
Taking and -
it was very common to take and doing still life stuff
with
the vine charcoal.
Now pull,
down,
over the surface, feeling volumes, pushing up.
Now want to think of the rib cage inside here is really got this pull.
Feel, coming across, the
pull.
Over the surface.
Pushing in,
I feel the pull. So I'm looking at this now, look at
the model here but what I'm
really seeing is the way the shapes taking and are pulling
down, feeling the pull,
pushing down and you're going into that leg.
And the fact that all of the rib cage, everything's going down.
Now
we have a cast shadow up there. Okay now which helps to show
that but they're also at the same time that cast shadow will
being almost a straight line
actually takes and destroys the sense of the form.
So what I'm going to do then is I'm going to take and pretty
much ignore the shadow.
And again, we've got the model on that bench so we can feel
the foot coming down,
got the bench underneath through the stool, whatever you
want to call it, block.
Okay
the hand,
moving up over the leg.
Notice, I really just suggesting start with now
through,
leg going down.
The other leg is coming out from behind. Here as you're
working on this really visualize in the end visualize visualize in the end
of that knee really is a box form.
Through, over,
round forms.
Now
the other arm is taking and going behind.
And we see a little bit of the hand behind here then we've got
the block coming down.
So the big deviation I'm going to make here now from what we
see
is the use of the atmosphere and tones coming in and going
around the figure
and I want to get the sense that she's really pushing up
and here is coming down. So to do this now,
then I'll take and
I want to feel the air going through, coming around, and going
underneath the arm, and we're pushing - even pushing these
other things back. So to take and get the feeling that this,
the pelvis, is coming out. Okay so now I'm going to take and
go out of my way to take and create
tones that are coming through.
So you feel all of this.
So I'm coming from the outside in.
And I'm gonna carry this all the way through
in here.
And I'm going to go over
the arm or the leg here.
Coming through and now I will come in later and I'll take and
work with the kneaded eraser to take and start to build some of
these things out.
Now so
Really focus on this round
form.
We're going
under here and can feel all over this.
Now you can see we're taking, created a whole new,
really just using...
Pulling forms around, through.
In fact, I'm taking, putting the tone
to the front of the face
rather than the sides so now we got forms, coming through.
So I've changed the light source completely.
Here I'll take and use the tone, going through, behind,
over.
You can see the figure takes on a really atmospheric quality now.
I'm taking and really pulling tones, going over,
around, and behind.
It's sorta like finger drawing here.
Okay now go back into this.
Now in the last drawing I was sitting down and I started this
one sitting down also, but I find that to get a sense
of the whole I have to be standing and getting a
feeling. I don't normally sit down unless I'm working very
small, but rather when I'm working on larger drawings, I
generally try to be standing so that I can get a sense of going
over the form.
Through, get a feeling for the whole because as I was looking
at the other drawing I did I think because I was seated
I was looking up at it like it has
distortion in the drawing.
Being seated
you saw less of the top of my bald head.
But I'm afraid you'll have to live with that for a little
bit.
Okay.
You can see how I'm really taking the atmosphere of the paper and
bringing it into the drawing. So we're getting a lot
of the contour, the actual contour of the drawing has
pretty much disappeared
that I don't particularly - I'm just indicating where forms are
so you're taking and imagining
more of what's going on.
So I'm feeling the shoulder lifting up over the top.
Picking up the where the bone.
And I can use the hair going and thinking of the hair is a
way of taking and silhouetting a bit of the wedding a bit of the
shoulder.
And so that we can really feel, here now I'm going to come in here. Now. I'm going to come in
and I'm emphasizing the tone, push the corner you push the corner.
of the shoulder.
Through. Now
indicating with very very subtle little indicator lines
or points to get the eye to read the outside contour of that
rib cage without really taking and drawing that much.
Coming through.
Pull
See now as I draw that line there
what you're seeing is the atmosphere coming through
and we feel the ribcage coming forward.
Now want to feel a little bit more of the compression.
Now come down. I'm thinking okay where we're going
to pull over to the pelvis over here.
And so come around
the dark tone behind.
And I just pull.
All right. So now
you're coming around, I can take and
you notice how subtle this is now.
The tones that I'm getting, a lot of it is actually I'm
constantly thinking about the anatomy, but when I rub it we
actually get lots of extra
accidental tones.
And so as I'm doing it and the the tones that are created now,
if I take advantage of them
they become -
the eye picks them up and perceives them as
anatomy. A lot of the times the tones. particularly with the
vine charcoal, can be
really accidental.
And once you start to
work with it, you can find that you can take advantage of the
subtlety of these toes that are being created. It creates a
rather realistic field.
Now for that to happen though, you have to be
consciously thinking of the simple, big volumes.
So now as I come though, taking and indicating in this arm,
you can see I've totally again, I've totally changed the
sense of the light.
The tones that I put in, creating, have practically
nothing to do with the light that we see.
Now just an indication of where the deltoid would be coming in.
I want to keep this very subtle.
Pulling this in front a little bit.
Behind
Like see I need to drop this leg a bit more.
And that's going to require
dropping.
Blocking in that hand a little bit.
Now you see the advantage of this
charcoal, I can just take and rub
tones, taken them out or add.
And as I'm doing this I see that the other leg needs to be dropped
dramatically. Needs to drop this down
in here.
Here you can see I"m building that tone, going behind.
This is really becoming a
good example of the atmosphere
approach from the previous lessons, in Figure
Drawing One.
I'm trying to pull some of the stomach.
Now the volume of this leg needs to be
really built up now.
So what I'm doing is I'm coming across,
building the core.
spherical form
Okay.
Now, I'm going to take and
come in and work a bit using the kneaded eraser to start
picking out because I really added a lot more tone in here
then.
By taking and having to change legs I've got a lot more
density.
Through.
As I'm sort of running off there,
not going to worry about that. I will take and focus now on
taking and building. So now that I've gotten so much density I
can take and come back in this kneaded eraser and it just
becomes -
don't think of it as an eraser so much but as a tool
that we can use to take and because of the vine charcoal
is so loose and free
that you can take and really push.
Often what I'll do is the maybe in one of the later
lessons I'll take and use that I've often take like a pink
pearl eraser and I cut a serrated edge to it and use it
like a rake going over.
I'm coming back in and I'm going to take in push this
farther. Also, I can see
Picking up a little bit of light now on
fingers.
Takes on a really flushy quality.
That's why I think that
was used so much the during in more academy type tomorrow Kid Academy type
drawing
Taking and build -
build the forms up.
Now as I look at this whole section here it
feels flat. So I need to take and come around
pushing
more.
And it's not going to take too much. That's what I'm going to
do is I'm going through now and come across that at the same
time
pull the forms. Got the pelvis
emphasizing. Through.
Coming up from behind.
I want to make this really round.
Okay. Now that starts getting - now the main thing here thick now the main thing here
though is I need to make the leg now fitting into
so this becomes.
The indication
of the thumb. The hand.
Okay.
Still need to get the leg going underneath. You get the sense of
the volume overlapping.
The foot coming through.
Now that helps to give us a sense of compression
in here.
Visualize the volumes going underneath
and then the tendon coming through.
And I'm just going to start the upper leg and we'll let that
rest of it down.
Necessities of the camera here.
Now the other foot
underneath
and get the
feeling for the stand.
Good idea to get
toes on the right side of the leg or the foot.
Over.
Maybe indication of the other hand.
Like I say we need to take and
get the feeling for the muscles on the underside.
Can feel the scapula coming forward.
Okay. I'm trying to pick out the bone of the wrist.
Here we're actually see no light at all on the photograph.
I'm taking and using, picking up the light to show change.
And pick up.
Use this side of the eraser
and creating
a crosshatch, sort of
line going through.
So you can see it's a constant
push and pull
as I'm going through.
This is one of the things that I don't - often students
don't realize how much
you have to keep and be constantly adjusting and
changing.
That it's rarely the first shot at something is going to
take and
be satisfactory.
You need to
build,
work.
Now the softness now I'll take and use
the light in the background
and take and draw it and I'm going to do that coming through
and so we're feeling the corner now.
Okay. Now I'm using the
dark of the hair
as a way of taking and helping.
Getting a contrast of values as we go through the drawing.
I think I
want to leave that light.
Let's pull
over that surface.
Again keep emphasizing the whole point of this lesson was
now to take and bring from the outside in
or take the inside out.
And the use of white charcoal.
I'm just putting into -putting this tone in
as a -
everything seems tends to be leaning off in one direction. So
this is something a little bit of a compliment.
Okay, I think
that's enough there. think

Okay, that was a good session. Now it's a whole
different thing. Now next week we're going to be taking and
changing the ball game.
So
still taking and designing and working with the figure of the
shapes in the atmosphere. But we're going to use different
materials. What I want you to use is this is a water-soluble
pencil.
And that along with a
water brush. Okay, the paint, the pencils
I'll be using is the Faber-Castell -
let's see -
Okay Faber-Castell. It's called - let me write this down.
A Faber-Castell and it's a
graphite aquarelle. but doesn't have to be graphite,
but it's a water soluble pencil. And the water soluble pencils
have a shape, not a shape of the symbol on them, but a little brush
so that you can use.
Then there's the other one is - then? There's the other one is
you can either one, doesn't matter. They're both
excellent. Yeah, a lot of times you can't find
the Faber-Castell, but you can find this other one and
this is a
a-r-c.
This is a Swiss made
and it's called supracolor.
Okay. So either one of these you can take and
just take this and I can take and turn then of course.
The water brush and these are pretty much - or if you
don't have a water brush it's a regular watercolor brush
with water. The colors I just happen to grab these up , they were sitting
around but I use the same sort of a sanguine color, several
degrees of value. And also you can also use the graphite they
have water soluble graphite pencils that work.
So the main thing is whichever brand it is and there's many
many different brands. Prismacolor even takes and
makes a water-soluble pencil. I don't care for Prismacolor very
much, but it's okay, but then you can take and then the water
soluble pencil, the whole idea is be able to take and do a
little drawing, a line, and then to take and use the wash to
take and work with the drawing. And so that's the media type
thing. And so then we'll be taking and developing the
drawings along the same lines that we've been doing, focusing
on shape, atmosphere, and how you take and make the composition
of the drawing work
to create the action more clear.