Beginner Figure Drawing - Introduction to Light and Shadow | JW Learning | Skillshare

Beginner Figure Drawing - Introduction to Light and Shadow

JW Learning, Drawing the Body, Head and Hands

Beginner Figure Drawing - Introduction to Light and Shadow

JW Learning, Drawing the Body, Head and Hands

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16 Lessons (1h 52m)
    • 1. Trailer

      0:33
    • 2. Light and Shadow Basics

      1:44
    • 3. Value

      3:18
    • 4. Light and Shadow Shapes

      3:55
    • 5. Core Shadow and Cast Shadow

      2:27
    • 6. Highlight And Midtones

      4:22
    • 7. Reflected Light

      2:38
    • 8. Value Adjustments

      4:21
    • 9. Demonstration 1 - Leg

      6:24
    • 10. Demonstration 2 - Twisting Pose

      6:32
    • 11. Demonstration 3 - Torso

      5:38
    • 12. Demonstration 4 - Portrait

      7:53
    • 13. Timed Drawing Exercise

      30:44
    • 14. Timed Drawing Demo Part 1

      10:19
    • 15. Timed Drawing Demo Part 2

      10:42
    • 16. Timed Drawing Demo Part 3

      10:15
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About This Class

In this lesson, we start to evolve our process of figure drawing by introducing Light and Shadow into our process. We have a lot of freedom when it comes to creating shapes and gestures, but when it comes to the Laws of Light we don't have the same freedoms.  In this lesson we'll cover how light works, how shadows are created, do some demonstrations and finish it all off with a 30 minute timed drawing session. This is the next stage in our figure drawing process so if you're ready to start bringing your illustrations to life, then grab your tools and let's get cracking. 

Stock Image:
MJ Ranum
Sinned Angel Stock

Continue learning with the follow up lessons:

Figure Drawing Series:
Lesson 1 - Gesture and Construction
Lesson 2 - Dynamic Forms
Lesson 3 - Construction of the Body Parts
Lesson 4 - Proportions  

Head Drawing
Lesson 5 - Constructing the Head Part 1
Lesson 6 - Constructing the Head Part 2
Lesson 7 - Constructing the Head Part 3

Body Areas
Lesson 8 - How to Draw Hands
Lesson 9 - How to Draw Hair

Meet Your Teacher

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JW Learning

Drawing the Body, Head and Hands

Teacher

Hello, I'm Josh, never ending art and design student.  Drawing and painting can often be intimidating for people who have never sketched in their life but what if I were to say it's not as scary as it looks?  I'm looking to pass on the knowledge that I have learned to people who are new to art, casual hobbyist looking to improve, or to those who are looking at art and design as a potential career path.  The lessons I've put together break down the process of drawing and painting into small yet manageable pieces that allow you to absorb the material without overwhelming you with information.   The aim is to give you simple tools to build complex creations.  The lessons are structured like a pathway, starting from the basic foundations and fund... See full profile

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Transcripts

1. Trailer: in this lesson, we're going to start evolving out drawing process. We're going to start juicing life in shadow into the equation, like axed in a very specific way. And if we don't have an understanding of how exactly it works, the forms of figures we create, never going to look quite right. So we have to go about how light woods and has included in our process, is going to be electro followed bites and demonstrations and finish it off with a 30 minute time drawing session. So let's begin the next phase of our autistic. 2. Light and Shadow Basics: let's get started into some more advanced stuff over the last nine lessons. We talked a lot about the basic shapes informs that are going to help us create the various parts of the body. But we've been lacking another crucial detail to help us bring further dimensionality to our creation. We've broken up all these construction parts and gestures into the simplest ideas possible in order to get it started. But the reality is we need additional information to properly convey the sense of form, perspective and positioning of our construction parts and additional information to help compose those parts together in our gesture float and that additional information is going to be light and shadow or a better name for it is value. Up Until this point, we've been given luxury off, having a little bit of flexibility with what we've been able to put down pipe up. We've been allowed to play around with the shapes and proportions in our construction process, and we haven't had to worry too much about how accurate we've made things in our image. Because the goal up until this point has been about capturing the essence of opposed capturing its rough foundations. When it comes to light and shadow, however, we're going to be beholden to the laws of nature, no matter how free we are initially, no matter how loose we are without construction at that stage, when we start adding in l light and shadow, we have no choice but to be beholden to the laws of nature. If we have a lot positioned in a particular direction and the shadow on the body doesn't match the direction that light is coming from, everything is going to look off. Science is looking. It's in for the next stage of our figure drawing evolution, so let's go over that now. 3. Value: so as was already mentioned. When it comes to our initial shapes and gestures, we have a lot of freedom, not just in terms of how we go about drawing out figure, but how we describe that process to ourselves. We have said that we need to look for the simplest possible shapes that resemble their body parts that for our purpose ahead, is really just an egg. That the torso is just a box that Aramis just a cylinder, etcetera. All of this is just a short cut to help us get to our end goal of creating something that resembles real life. But none of this is literal. It's really just a series of convenient tools to help us get there. But for what? We don't have that luxury. There are no shortcuts we can create for assaults. This is science in a formula that we have to follow. And we know this because we could do experiments over and over again that proves the formula exists. So we're stuck with these laws whether we like it or not. We need to know which of our parts are in light and which of our parts are in shadow. So let's take a look at how things work. We got to stop pretty simply, he We go to construct a sphere, but we're going to put it in relation to something. So it's not just floating in space. A spear on its own doesn't give us the proper understanding of what's happening with laws of light. So we're going to put it on a table for this demonstration. So we're going to create for ourselves and environment with a four grand in a background figure out what part of our form is in light and what's in shadow and a sign of value to that light and shut it. So what does value may not, he site well, value gives out objects, the illusion all form. If I just add in cross control lines over this fear, it's going to give us the illusion of three dimensionality out. Brian's going to register it as something in three D, but it doesn't really give us the feeling that it's an actual speed that we could holding a hand. It's not until we start assigning value to that shape that the form really starts to come alive. If we do our job correctly. As an artist, we can make that flat two D surface. We are working on fool people into thinking that they are looking at something that has depth. What value is is three range of tone or even range of color. Between the life, it's lights and the docket shadows. As an object gets closer to the light source, the surface will gradually become lighter in its value, and as it turns away from the light source, it will consistently get dark up. If we look at this value scale, we can see this transition happening. We can correctly say in this example that the light is coming from the left and gradually getting darker as it moves to the right. We can see this better if we put this value scale into a three D environment. The light here is clearly coming from the top and gradually becomes docket as it moves down . So we can say to ourselves that each change in plain also results in a different change in value. If we get those ideas right, we're going to go a long way into helping give out images, the illusion of form in position 4. Light and Shadow Shapes: before we start doing any rendering, it's important for us to identify where exactly the light source is going to be coming from . So in this case, I'm just going to indicate huge this arrow where we want the lot to be hitting out. Sphere, you don't have to put an arrow in like this, but if you get lost, it's going to be a useful tool that use. So we've got a light source coming in from the upper lift, which means everything that art form that turns upwards and towards the left is going to get gradually lighter in value, and everything that turns white and to the right is going to get darker and value. What we need to understand is how the values on this form change and shift from light into shadow. At a certain point, the more we move around their object, our light will fade in turn its shadow. What we'll find is there's actually a specific point where this happens. That point is actually a border that goes around there for everything underneath, this border will turn into shadow and everything above this border will turn into light. What this means is at its most basic, our forms air going to consist of one big area of light and one big area of shadow, a predominantly light side in a predominantly dockside, each with the value that differentiates one from the other. In the past, lessons we've really only touched upon one particular part about construction process, and that's finding the overall shape and form of the figure. From the start, we've said we want to be looking at creating the simplest forms and shapes that represent the body parts. But when we start to get into more sophistication without designs, we need to evolve that process a little more. When they're going to split at construction process into three steps. The first is just fighting the overall shape of our object. In this case, it's a sphere. The second is figuring out the shape off the shadow, and the third is assigning specific values for our light and dark side areas. Now, when we talk about dark values in our shadows, we're not talking about just adding in a very dark grey or even black. The shadow value early needs to be darker than the light value. Now I know what I'm saying there are all of these shades of value on objects. It's not just one area of light and dark. There's a whole range of tones in between. It's throwing the off. So how do we go about identifying these two specific areas? How do we break it down to its simplest pots? Well, we want to approach it in a similar way to building the forms and that figure. We want to look for the simplest shapes of light and dark. We want to cancel out all these areas in between and just work out what the basic shapes are for these two areas. So what's the best way to see this? Well, if you simply blow your eyes and an object, what you'll notice is those Middle Rangers start to cancel out, and it will leave you with a predominantly light area to focus on a predominately dark area to focus on. At this stage, we don't want to be worrying too much about those in between areas. That's something that will develop at this stage. We're just looking to cancel out all of that and just focus on the two biggest areas of light and shadow to begin with, we're starting with a two value system. So the question you might be asking yourself is, well, how different do I make each of these two big values? All that is going to depend on several factors the direction of the like, the strength of the light itself, the material. The light is coming into contact with the surface around that all that is going to play a role in determining just how dark shadows are and just how lot out light is. What's more important at this start is that we identified these two big areas of value first and foremost before we start doing any type of refinement. 5. Core Shadow and Cast Shadow: Let's go back to that board we talked about earlier. That border is actually this start about shadow. It's known as Thecornerscores Edge. This is just a name now. It really doesn't tell us much about what it actually does, what ever you want to call it. What we have to know is that this border is actually representing a corner. So even if we got something as smooth and his round spear, what this course of age is actually doing is revealing to us where there's a significant change in direction, which is great for our construction process. We've talked in past lessons that the more corners that we create on our three D shapes the better and understanding of where those three D shapes appear in their environment. And this is really just an extension of that and its most basic. Any time a change in value appears on form means a corner is being created. So with these two big areas of value we've created, we could easily say to ourselves that these are also the biggest and most obvious corners in out form. This is going to help sell the illusion to the audience that the object that they are looking at is situated in a three D environment. So we've got two big areas of value to find trail light and shadow now, because their spheres on a table, our shadow very, is actually going to spill over onto the surface that the ball is coming into contact with . And that's because this sphere is big enough that it's going to block some of the light that's hitting it. This is what's called a cast cheddar now, even though these are two different types of shadow, because we're still working at this stage with the concept of a to value system, there's no point in trying to differentiate them from each other at this stage. This is something we can work on later on. At this point, we are much better off merging. The shadow shapes together to form one piece. We're not going to lose the three dimensionality off its feet. If anything, it's simply going to reinforce our space position in three D space. Because of the way the shadow shapes have merged together, the audience can fill in the blanks themselves and correctly guess that this sphere is sitting on a nice flat surface. So this is the basic set up. We've got the beginning in end of our shadow in place with putting out casts shadow. And we've identified the two big shapes for a light in dark areas. This is all we need to get going with developing out forms further. 6. Highlight And Midtones: right. We've got the basic set up for our forms, but there's more we have to do now. If we were to just leave this here as it is, the audience could make a pretty educated guess about what's happening here. Exactly. We've got enough information present for them to say to themselves. Well, clearly, this is a ball sitting on a flat surface with a lot coming from this top left position. So this is OK, but there really aren't any specifics about what's happening on the light or that shadow side. We've merely separated them into their basic shapes. If we want to push for more realism to develop these forms better than we need to talk about what's actually happening on the light in the shadow side, the light side is going to be made up of two parts. We've got the highlight, and we've got in the mid tone. Now. Highlight is pretty straightforward and is pretty easy to see. It's merely the brightest part of the light, hitting out for anything that is not Ah, highlight is going to be referred to as a mid time mid turn, sits in between the highlight and the start of its shadow, and that mid tone value range can be almost as bright as the highlight and almost a darker shadow. So mid tone covers a huge range of value for us. We've talked about the Shadow as being the biggest, most noticeable corner available to us. If we figure out where that main quarter is, it's going to go a long way into giving our strong foundations for a figure. Midterms are really just smaller corners that worked their way over our form, away from our highlight, until eventually they come into contact with our core shadow edge. If we look back at our three D value scale that we saw earlier, we can see this process happening. This is our mid value range, and the smaller we make these changes in direction, the smaller we make these corners, the smoother things will look for out form when we start blending. What we're actually doing is making tiny little changes in direction in their sphere. Tiny little corners. This is called a gradation. It's the transition of our form from the highlight into the shadow. If we do this transition correctly, it's going to bring more realism toe our sphere or whatever object it is we are drawing. So that's our meat times. Let's move on to the highlight. Let's briefly discuss what it is like is actually doing when it hits the surface. If we have a look at this graphic, this represents else. Fear this error represents the direction the light is coming from, and this I represents what we see. What we're going to see is our light is going to hit the surface of their sphere, bounce off it and traveled towards that rye. So when we see a form transition in value from being like two dark, this is because the light bounces or flex, and the exact point of where that light hits the surface is where ah highlight is whatever surface we are working on is going toe act in the same way everything that receives light will reflect light and, as such will become another lighting source. Not only does a surface reflect light to our eyes, it also reflects lot into everything around it. So in this instance, the light is not only hitting out sphere, it's also hitting the table service that this sphere it's sitting on which is reflecting light towards not only our eye but to everything else. In this environment. Where are forms become Shadow is, by definition an area where no light strikes it directly. But because we've got this light bouncing and reflecting off the table service and bouncing onto everything else in the environment, it's going to affect at shadow. As their sphere turns away from our primary light source into shadow. Ashado is actually going to pick up light that's being reflected from the table around it. So what we can say to ourselves is there's actually two types of light that we have to contend with. The directional light, which is our primary light source, and the reflected light, which is the light reflecting off all other surfaces. 7. Reflected Light: So as we've just gone over, everything that receives light will now become a source of light for our objects in their environment. As as fear turns way into shadow, the light hitting that table is going to illuminate our shadow side. And so just look at me, turns on the light side. We're going to start getting degradation of value from a shadow site from this reflected light. As the sphere turns away from the reflected light, it's going to become less and less illuminated as it approaches the core shadow edge. But we have to be careful with this reflected light. Take notice of what happens if I start adding in too much reflected light into our shadow. Now, something about this doesn't quite look right now we've fully out formula with the directional light and the reflected light. We've got these gradations of value curving away from each lighting source, but something still seems to be off near with their sphere. So what has going wrong here? Exactly? Well, if you blow your eyes, you might be able to see where the issue is. We've gotten a little too carried away with their rendering and have forgotten about our first rule about separating our two biggest areas of light and shadow. At the very beginning, we had a pretty straightforward separation to very easily identifiable areas of light and shadow that were signed to specific values to. But since we've started putting in mid tones and reflected light adding in these transitional areas, we've started to cancel out those basic foundations. Erin type process has, ironically enough, started to weaken our initial to value I d. Because we started making the lighter area dark up and the doctor area light up. If our rule is the shadow and the light values are supposed to be distinguishable from each other, then we've made a very obvious mistake. If we were to blur eyes now, what was once a clear separation of values, now more or less looks the same. What was once a nice round it's fear has now suddenly becomes something that looks a lot flatter in its shape. We've lost a with that form. We don't want out two sides competing with each other, So what we need to do when we start at rendering is to ensure that the gradation on the shadow side is darker than the gradation. On the lighter side, we need to make sure there's still a sense of changing direction on out for the feeling off that corner being present. No matter how much rendering that we do on either side, we have to make sure our basic idea of one big shape of light in one big shape of shadow remains intact. 8. Value Adjustments: So let's change this sphere up and make it true to what we just said. We want to look to the core Shatha Edge again. This is the area on our form that is going to receive the least amount of light from either light source. It's not going to capture any of the directional light, and it's only going to capture a small portion off the reflected light. So this means the core shadow edge is going to be the darkest part of their sphere. The dark up we make this caution edge, the more this is going to reinforce their idea that we're separating these two big areas of light and shadow. Notice what I do. He I'm using that coursera edge as the starting point and moving down when creating air afflicted life we have to do is to use a gradation down from that course at an edge to get us the desired result, Frayer reflected light. We can go about this two ways. We can either a roast, some of the shadow that's currently existing there to bring out the reflected light. Or, alternatively, we could just go over that course shadow edge and make it darker. That will help reinforce the idea of the corner being present and help reinforce the overall shape of our object. So we've got two options available for that, and we could do something similar on the light side as well. If they are mid, tones are too close in value to a shadow. We can put in a lot of gradation of value that comes down from our highlights. If you're using toned paper, this is where a white pencil is going to be extremely useful. If you're using just regular old graphite pencil and white paper, you're going to have to gradually erase some of that pencil workout. If you're using paints, you can mix as much black and white as you need to to get the desired result. Whatever method we use, we always want to be thinking about these transitions that helped to reinforce our initial idea. We've got out to basic values of light and shadow as well as the gradation of tone within those values, and they're all going to help us in constructing out forms. The last thing we need to work on is that cast share it. The car shadow is going to be darker than the shadow on the sphere by a significant amount , because it's not catching anywhere near the amount of light that this sphere is. In fact, the cast shadow is being completely blocked from receiving any direct light at all. It is not really going to capture any of the light that's bouncing off the table surface. So this means are cast shadow because it's not getting any of this. Additional light is going to be substantially darker than the shadow on its feet. Darkening that cost shadow is actually going to illuminate the shadow sort of our spear a lot more. So even though we've talked about adding in reflected light, darkening, that cast shadow will in most instances do most of the work for us, it's really going to make things stand out from the page a lot more than if we left it as it works. So we might find that we don't actually need to do as much work to this reflected light as we initially thought, but we don't want these two shadows to be two separated at the end of the date. We are still working with the idea of there being a main source of light in a main source of dark. So even though these two values of shadow are going to be different, we still want them to relate to each other. But the basic rule is darkening. One is going to illuminate the other. And that's gonna be true for the environment. We placed the four minutes Well, if we place a form with lots of mid tonal values on to a very dark environment, that environment is actually going to make that form look bright up and stand out a lot more than if that form was on a much lighter surface. And, of course, the opposite is going to be true as well. So that's how we go about understanding, light and shadow and how to apply it to our thinking when we are drawing figure. So if we recap our process again, number one, we need to find the overall shape off the object that withdrawing number two. We need to figure out the shape of our light and shadow areas and number three, we need to assign a light value in a dark value to those areas and ensure that all their rendering in gradation relates to those two main values. So this part of the listen either. Let's move on to some demonstrations. 9. Demonstration 1 - Leg: All right, let's do some demos. Now. This first one's got some very deep shows that happening. And this is actually a pretty good image to start with if you're just beginning, because the light in the shadow areas are quite easy to define. So we just got to use the same process that we have in our previous lessons of building our construction parts and using the simplest possible forms available to us, and we're going to continue this process now into developing the shadows. So I've got the boxing structure in place for the hips and just working on the cylindrical structures for the legs. When we get to this face off the drawing process, we actually have to think a little bit more carefully, and we also have to take out time a little bit. Maura's well, when we start moving into this more sophisticated construction process, we are going to have to slow down. So I've got my rough foundations in for the leg and the leg construction, so it's time to put in the shadow shape. Now what I'm looking for is that course that edge and trying to find which direction and what shape it is actually making. In this instance, it's making almost a lightning bolt, shaped a somewhat wobbly and walked a lightning bolt shaped that's traveling down that fine into the kneecap. And now that I have that shape placement to my liking, I can come over the top with might value choice. You don't have to come over the top super dark straightaway you can if you want to, and erase some things afterwards. But it's probably going to be easier building up your lives. Shut up! And as you can see, in very little time, you've got a really solid foundation for us to work with. We've got a very clear definition of what our shapes are and where the lighting direction is coming from. So again we got a three step process. We've got the forms that we've created, our basic construction parts. We've developed the shape of the shadow, and of course, we've assigned a value to that shadow shape. Now the construction parts that I put down were pretty simple and basic. Mostly, just assume the shape with legs. Your construction process could be as simple or as complicated as you need it to be, so even though we've talked in the past about putting the simplest possible shapes down for us, those were not actually beholden to that rule. How complex the structure you make is entirely up to you. So we've got this big block of car shadow, which is spilling onto the leg that's furthest away from us. Now we have got some light coming from the right hand side, but this isn't actually reflected light. This is actually eight second light source. It is acting in a similar way. So what this second light source is actually doing is it's pushing those gradation of values on a shadow side to be a lot brighter. Then what would be if it was like bouncing off something? But even then, those lighter gradations of value on the show side I still significantly dark up, then our main light source. Now, if you ever feel like you need an aid to help you determine where the lighting is coming from, it's a good idea to just create a simple sphere for yourself and adding a light and shadow guide. Or alternatively, as we saw in the demonstration, just using arrows you guide. So whichever weight suits you best, so I'm going to go over with some highlights. Now I'm using a tone canvas for this demonstration. You don't have to work this way, but it will give you a lot more control. It gives you the option of either working towards the shelters or the highlights. White paper. You're sort of forced to go one way. You don't really have the option off bringing out highlights again. Unless, of course, you put a whole layer off mid tones in and then start or racing things out to bring out the highlights. But there's nothing wrong with using that method, either. In fact, it's probably a good idea to stop that weight first. It's more important at this stage that we develop and evolve our construction process. It's not gonna worry too much whether or not we are drawing on grey canvas or white paper, whether or not we're using pens or inks or grab fights, whatever it's going to be. If we don't understand how shapes and forms work and how our shadows and highlights are working together with those forms that it's not really going to matter too much what medium or using what tools we're using. But first, it's more important for us to develop this process. We have to create our basic forms. We have to create the basic shadow on the forms, and then we have to apply the value to the light and dark areas, and that process is going to remain the same as we stopped. Find things. So as you can see, I'm starting to blend and develop this thigh a bit more. Now the thing with blending is that it's creating a gradation for us. It's creating mawr mid time for our image. But we have to be careful as we do this, not to lose that coursera edge. Rafter always feel as if that is present. We have to consider the core shadow as being a corner, even if we're dealing with something a lot more rounded, like a sphere or a cylinder, or in this case of leg, whatever shape or form we're developing, we have to ensure that its president spelled So if we've inadvertently weakened, are designed by blending, we really have to come over the top and dark in it again. They're going to be instances, of course, where the lighting isn't quite as harsh and the shadows quite as dark as what's present here. But you always have the feeling of that core shadow age being there, even if that means you have to exaggerate the conditions of the lighting. We're also gonna take into account how we actually move out, pencil around. We've talked in the past about gesture being the transition or the movement from one form to the next. And we won't have strokes to mimic that movement. And we do that with this wave action. Originally, we've done this action with just our basic construction. But we also want to apply this idea into our shading as well. So just is not only going to be present in our initial foundations in construction face, we have to ensure that we continue that idea of movement from one body part to the next throughout out process. So when we start to refire things and start to add in light and shadow are strikes have to still emulate those initial foundations of gesture. What's going to happen is the more construction we put over our initial gesture lines, the stiffer al poses they're going to become, and that's going to be true for a shadowing as well. So the more our shadow and highlighting strokes and he to those gesture foundations, the more fluid and more alive opposes the going to beat. But we don't want to get too carried away with those strokes. We don't want things looking to robbery. At the end of the day, the shadow is going to indicate a change of direction. That core shadow age is going to represent where corners and it's going to help give a sense of three dimensionality, give a sense of depth to an image. And again, as we said in previous lessons, if we ever get into trouble, if we ever have trouble with positioning of things, the box is going to be our default shape that we're going to lean on. It's not only going to give us the best idea of where body parts of sitting in three dimensional space, it's also going to provide us enough information for where out corners stuck. And that's gonna be super vital for when we start adding in light and shadow. All right, let's move on to another demonstration 10. Demonstration 2 - Twisting Pose: all right. We got a nice, twisty bendy pose here, Kind of like this one. We got some nice shadowing happening on the left hand side and a lot of sources coming from the top, right? And you could tell, because the highlights are where his upper back muscles are. So it's always a good idea before we start doing any serious construction to just take another where outlining sources coming from. If that takes 10 or 15 seconds at about five minute drawing session, that's going to end up producing a better result for us. We don't just want to be diving headfirst into things and guessing. The last thing we want to be doing with our out work is actually assuming wear things opposition. Now I'm trying to really think about pushing this pose a lot more. We have a tendency, with the start of twisty poses, to inadvertently start straightening things up into a way that is more comfortable for our eyes. We don't generally see the world through dynamic positions, and so we naturally straighten things up. So it's always good with their drugs to really push these poses and exaggerate them a little bit more than what we actually see, as you might be able to tell with the arm that's furthest away from the camera actually pushed this out far more than what's in the image. As you said before, as soon as we start developing form over these gestures, it's going to stiffen things up. So we've made mention of this already in previous lessons. But bears repeating. Always push your poses to be a little more extreme than what you see really pushed. Those muscle shapes really pushed the positioning off those arms of legs or whatever body part you're working on this we almost want to feel like with a pose like this. We are capturing a moment in time that he's not actually just standing there in that position, that we've caught a still frame of him charging at us with those knives. So take things to a more extreme place and then just dial it back. If you need to, we can go overboard then that's when our construction is going to help with this, and especially with these forms, when we start adding in this light and shadow. So I've got my basic foundations in place now, so I'm quite happy to start adding in our eternal values. Now, what you might end up noticing with shadows is that they tend to make a various zigzag type of pattern we saw in the last demonstration. How if I had this sort of curved lightning bolt shaped to it and thats gonna ring true for a lot of areas. We've talked about the shadow shapes being corners for us, but they could also be looked at as being steps, not steps in the traditional sense of walking up and down stairs, but were along the lines of a Siris of forms that end up overlapping each other and interlocking with one another. And because we are dealing with forms that are all shapes and sizes, they are naturally going to produce shadow shapes that twist and turn in very unusual ways . But that's actually really good for us because that's actually going to help reinforce out gesture. So just looking out money Cheddar area now, But going back, we don't want our shadow shapes to be two straight. That's gonna be perfectly fine if we're dealing with something that is man made or is far more mechanical. But for what we're doing. That's gold. We want those nice curved rhythms in their shadows. Andy now highlights to help reinforce Air Michelle Gesture foundations. So it's just developing the shutters and forms on the arms, and you can actually see he with the arms. Just tell Wavy the shadow patterns can actually be. We don't really have anything he that's to strike. And as we said, that's going to be great for us. Just gonna put another lighting source is a bit of a guide for us. I have a tendency to try to get in most of the shadow area and the most of the Midtown area down first before starting to add in any highlights. Highlights can actually get a little bit tricky and can sometimes get a little bit out of hand as well if we're not careful with it. What tends to end up happening is beginning. Artists end up going a bit too overboard with the amount of highlights. Remember, the highlight is the exact point where the light is hitting the surface. It doesn't cover a huge area. Everything below the highlight is going to be in mid turn until it hits the court shadow. In fact, you're better leaving highlight out, then putting too much of it in all over doing it. But highlights are going to be very useful for us because they're actually going to help reinforce our figures construction. We've talked about the course shadow being the main corner for us when we start putting in our shadow shapes. Now, as you can see, I'm working on that main course shadow edge for this area of the torso. It's on main transition that separates out to value system. You can see it quite clearly in this image just how separate these two big areas of light and shadow actually are Now, he said in the last demonstration, that you're going to come across images and life drawing classes that are going to have lighting conditions that are a bit more flat. So it's not always going to be a case where the reference that you're looking at is going to be providing really dramatic lighting conditions for you. But as long as you're able to identify where that course shadow is going to be, you can make adjustments, it's needed. And if we run into trouble and have difficulty finding where that course shadow might be in those flatter lighting conditions that we have to do is blow your eyes. It's a bit ironic that blurring arise in this instance actually makes things seem clearer. So I'm just gonna start adding in Hall. It's now, and I want to just demonstrate what doing too much is. We don't wanna put these big obvious strokes in for our highlights. We really have to build up to the brightest pipe off the form and just going back to when I started talking about highlights before her lost my train of thought. Highlights are actually going to reinforce out forms as well. If we think of the core, Shadow is being a corner then really, Al highlights are also a corner. Anything outside of a highlight is a mid time, so that made their highlight is going to be an additional construction part for us. It's going to help reinforce the three dimensionality, although that figure so our core shadow is a corner and Al Hilal is also a corner now. One other thing that we have to go over is actually the gradation off the entire figure. We've looked at things more from an individual perspective at this point in time. But we've also got to take into account the entire figure and what the lighting conditions are doing to it. So we know that the lighting is coming from the top, which means that there's going to be a gradation for not only the individual areas affected by the like, but for the entire figure itself. So in this image, the further away his body is from that top lighting source, the more we're going to get a gradation into those mid tone values. Until eventually, his body transitions entirely into shadow. It's always having to put in a value scale sketch there for yourself, just to give you an idea of where things have to go and if you need to, earning little indications for your highlights and your core shows to indicate that these your corners add them in. They put their whatever tools you need you to help develop your projects, right? Let's consider this one done and move on to another demo 11. Demonstration 3 - Torso: right onto the next one of good, a fun belly dance, the type of poses, some nice gestural rhythms throughout this torso. And much like the last image, this again is the top of pose that you really want to push. We can actually get something really dynamic and fluid with these tough of poses. He It's something that's also a bit of fun as well. It should be fun. It should be a fun, creative experience. And yes, even though we've got a lot of information that we're trying to juggle here, we've got all these parts of the body. We've got all these lights and shadows that we have to contend with at the end of the day. It's a creative process, and we should try to make it as fun for ourselves as we can. And we're not always going to be able to do exactly what we want, especially if we're working in a professional environment. But we have to try to keep some level of enjoyment as well. The reality is not all the professional work that you end up doing is going to be something that you end up enjoying, so it's a good idea to try to remind yourself in some way, shape or form what it is that jury to this in the first place. So I've got my torso foundations in the now I can start to put in my shadow shape, and I really want to make sure that this shadow shape is following along that C curve that the body is making. This is definitely the type of Poe's work. We don't want to stiffen up that shadow shape. If we were stopped putting in straight lines and hard edges into the shadow shape, that's really going to start making things look a lot more rigid, and because we've got this nice flowing dynamic with the torso here, we really need that shadow shape to follow in the same direction. And that's why our strokes matter. We really want to move out. Pencil. We want to move our hand in the direction that the forms that taking so we don't just want to do this for error. Initial foundations, whatever shadow and lighting we put on top and even whatever coloring we put on top eventually we need to make sure that all these values that we are creating thes transitional areas from light into shadow feels if they are wrapping around that torso or wrapping around that leg or face, or whatever part of the body is we are working on. We want to feel as if we are not just going over that torso, but we're going over and behind to the backers. Well, we have to imagine there are three dimensions there, that there is another side to what we're looking at. So we've got our to big areas of value that we've defied here and the gesture flow off. Those two values are fitting nicely in with their figure, and then it's just a matter of working on the in between values on each of these two big sides the abdominal muscle, the rib cage, the pelvis area that, or going to contain their own sense of form, their own unique shapes. And as such, they are all going to react differently to the lighting situation, depending on where they're positioned, where the lighting source is coming from and how that interacting with the other body parts around them. But no matter what shape it is, we are working on the tonal gradations. All those mid tone areas that is reflected. Light areas have to relate to our to big areas of light and shadow. We don't want the changes of value in gradation on the dark side to be in competition with the changes of value in gradation on the life site. And we saw that during the lecture when we talked about the reflected light, we didn't want that particular area of shattered to be that illuminated. It's just going to look completely unnatural now. They are going to the instances like we saw earlier, where we're going to have a stronger secondary light source. But even with that image, there was still a noticeable difference that was happening in this Tosa image. The reflected light is actually very subtle in comparison, and so the secondary forms in the torso. On the show aside, the rib cage area, the oblique area, the pelvis area. They are all acting accordingly. The gradations of value in those parts are staying within that initial shadow shape. We created the shadows thes forms out individually, creating really do feel as if they fit within this larger shadow area. It wouldn't make a lot of sense in this instance for these changes of value of these areas to reflect what's happening on the opposite side. So it's all relating to one another. The entire drawing process is really about heavy. Things relate to each other, not just through now gesture and our construction, but throughout light and shadow as well. How does that rib cage flow into those oblique muscles? Head of those oblique muscles connect into the pelvis area. How do we make these individual areas feel as if they connect and relate to each other? How do we get this upper torso rib cage area to connect into the oblique? How do we take that oblique and make short blends correctly into that pelvis? This is what has to go throughout mindset. We have to make sure that all of these parts not only work on an individual level, but collectively as well. We don't try to relate a with these individual areas together in some way. Then we're going to end up with something that looks a lot less believable. So it's all about relating one thing to the next. We always want to be looking to where our light and where our shadow we're going what direction They're flowing, what shapes they are creating. In essence, we've talked a lot about light and shadow of being corns for us. But they are also gestures for us as well. They're acting both as a construction all peace for us to get out forms right in three D space and they also hoping to generate the flow and rhythm from one body part to that next . So, in essence, they're not only construction all, they also gestural as well. So this is going to help relate and to compose everything together. At the end of the day, we are composes and our job as composes to make sure that these individual areas, which on their own don't mean a great deal, come together and meet something. So it will finish this one up here and we'll move on to one final demonstration. 12. Demonstration 4 - Portrait: or one more demonstration, and then we'll move on to our time drawing session. This one is a very sort of classical Rembrandt style portrait. We've got these really deep shadows that are knocking out a lot of these details on her face and this small wedge of light, which is covering her eye. And we've got that little bit of reflected light on her jaw in the shadows, which is bouncing offer shoulder. We've talked about how surfaces both received light and bounce light in this instance his shoulder, because it's absorbing that light and reflecting it is itself becoming a source of light, which is now affecting the shadow side off a chin. So we're going to have to observe the forms that are surrounding the body part that we're working on because of light affects those areas. It's also going to affect their subject matter. The face in particular is going to provide a rather challenging set of obstacles for us because we've got a lot of areas that creating very unique shapes protruding in certain ways, and we are going to produce their own unique shadow shapes. But still we always want to think about those two big value areas first and foremost on now , putting in that May border that is separating these two large areas of lighten shadows. You don't have to construct the whole head first and foremost and then come in over the top with your shadows. You can kind of do this as you go along. It's all going to be about feeling, so if you only want to work on a small portion of the head first, get that construction right. Get those total values correct. First before moving on to the next part. That's perfectly fine as well. We do have a process, but it's also a little bit of flexible processes. Well, as long as we have in mind our checklist off gesture of construction, off tonal value and a proportions, it's not going to matter too much which part of our process we do first. In the beginning, it is a good idea to have that process. But as we develop, everything starts to become a lot more natural, and so we're able to chop and change the order in which we construct things in. All right, I'm reasonably happy with how it looks on putting all this tonal value for our shadow side . Even though this is one big area of shadow and there's not many details for us to see, it's still going to be a good idea to ensure that our pencil strikes are hearing to the shape and direction that sculpts making. This is actually going to help with the construction process, even though we've got these really dark cast shadows and form shatters that being created. If we ever want to illuminate this area, bringing a bit more reflected light to bring out some of the details of the anatomy than having the strokes and he to the shape of form is really going to help us there. We're not bound to the literal truth off the image. So if you feel as if we need to add a bit more light into the subject matter, and if we know our anatomy correctly, we could really do whatever we need to to the image to get it to out desired result. Always remember, we're dealing with three D forms, even if we can't necessarily see all of that form because it's cased in shadow. So our rough foundation is in, so I'm just going to start bringing back some of this course shadow now because it started to get a little bit lost. Now the hair is the darkest part of the image, but you might be able to see that there's still a little bit of elimination coming from that reflected shadow into the e. So we still want to build this. With that in mind, there's no report with these type of images of putting so much detail into something like the EU, because at the end of the day it's going to be mostly obscured by this main area shadow. So the more things that are in this sort of deep shadow area, the less detail we are going to have to do to it. And that's good in some respect, because it means it's going to be less work for us on the light very side. There's going to be a lot more detail that we're going to have to build up, so it's going to be a little bit more work for us. But no matter how much detail that we have to put in, no matter what shapes that we are forming, we just have to continue on with the process that we've learned. Caution is air highlights. As we said, our structural in gestural and they are shapes that are going to be visual markets for us. They're going to tell us where the direction of the body part is flowing. We've talked in previous lessons. How overlapping is one type of visual marker that we can use to help determine what particular position our body part is in and what its relation is to the body part around it . And light and shadow is just another visual market force to help determine those positions . That's gonna work on these eyes for a little bit, thinking about repping that pencil around, imagining my head is traveling over and around that ball surface. So these foundations are looking pretty Yoko. So now we just need to start blending things in a bit and uniform ing everything together. At the moment, things on the shadow side are probably looking a little bit too loose and not as tight as they could be. So blending is going to help do this now without blending. We still want to add heat to the same type of stroke pattern that we put down without pencils, this again is going to help reinforce the construction process Forces going to help transition from these pots from one to the next. Blending is really just another way off. Helping to develop mid time. We talked about how shadow and highlight construction, Elin gestural me turn is really the key in developing those gestural flows from one body part into the next. Now we saw in the lecture that we can actually get pretty decent three dimensional representations of something that is in light and shadow without actually having to put in any midterm values. And we can still get a nice gestural rhythm if we were to only ever design our poses using only those two big areas of value. We saw it with their sphere that it was still obvious that despite the fact we had no gradation whatsoever happening, that we could still identify that as being a sphere sitting on a table due to the shape of the shadow that we created. But that's only going to get us so far with three dimensionality. If we only keep to those two big areas of value, we're not going to get anything that's believable. So the midterms are really the key into helping us create Farmall believable forms. So I'm slowly building up thes shutter layers and looking in ever DACA shadow shapes. And some artist will prefer to just put a whole area of shadow in first and foremost and sometimes not even worry too much about bringing any of those details back. They will just somewhat leave it for the audience's imagination to fill in the blanks. As long as there's an indication there that there's a jawline that there's an E, that there's a corner in that eyebrow, that's going to be enough. And that comes back to what we were just mentioning about two basic value system. The indication that there is a change in direction is going to be enough in most instances , for the audience to essentially do the work that the artist is asking them to do. They're just intuitively going to fill in those blanks as long as that corner is present, that feeling over a transition from the light to the shadows present, it's going to be easy for the audience to make an educated guess about what exactly is being shown to them, shadows indicate changes of direction. They indicate corners. If we would actually go back a few lessons to when we started constructing the head, where we put down some very basic shapes that had some very basic corners to them. What you're going to find is that these shows shapes that we see here in this model are going to reflect those basic shapes and corners that we put down in that head construction Siri's So you can see when you start thinking of light and shadow in the context of it being construction all part, how it's going to help to find the shape of their forms. So I'm just going to spend a little bit more time darkening and blending these areas in. Next up is the time during session for this. Listen, so this one's gonna be changed up a little bit from previous time drawing sessions because we're going to need to take a little bit more time without creative choices. So there's only going to be three images to practice within this Listen. Each image is going to be 10 minutes in length. So a little bit more time to plan things and to put things down to paper that you don't have to get the entire image down. Just get as much as you can get done within that 10 minute period. Remember our three step process. We want to focus on the overall shape of the object or, in this case, the human figure. We want to look forward, the shadow shape, and we want to assign value to the light and dark areas. And don't forget about the gesture is, well, those transitional areas from light into shadow. So spend the next half now working on that, and then we'll come back and do one final demonstration. 13. Timed Drawing Exercise: Oh, - for the Yeah. Good. - Great . Look going. What? Yeah, I But you okay? No way. Way. - Uh , - me . Yeah, and all right, - way . 14. Timed Drawing Demo Part 1: All right, let's get going with these final demonstrations got a pretty clear distinction of values he with this image, nice indication of were the broadest areas on with the darkest areas out. And so I just started putting these foundations. I'm always thinking, as I'm building these figures, I'm always thinking about trying to get to the corners off the images. Quickest possible. The sooner we start to get the construction, all components in their position in three D spice in place, it's going to give us a significantly better foundation toe work with. If we were to just ignore all the corners of the structures and we just sort of focus on the outlawing of things, that silhouette, we're going to run into problems later on when we start to at some form to our figures. So we want to try to get our three dimensional information down as quickly as we can, because just gonna be a lot easier for us. Which is why I've put in the facial shadow on the cheek area straight away, more or less, it's just going to give you a better sense of way things that currently standing there's never a point moving on to the next part of the figure out until you've really got those first few areas locked into place. And, of course, there's no hard and fast rule says you have to do it this way. But if you're just starting out, you're better off just trying to get a small area correct first in getting all with the positioning, all of the values locked in first and foremost before moving on to the next area. So at this point, I'm reasonably happy with how things up positioned full the head. I just had to put in the values for the head in the hair and the cheek values are more or less the same. We can come back later on if need be in. Make some adjustments if we've got the time. But for this average, I'm going to focus primarily on the torso in the arm. We're gonna worry too much about the face because the more interesting area is happening in the torso but still gonna work on the head for a little bit, getting some more of these values in. We've got these quite noticeable changes of direction happening in the forehead. End where the noses, the single for the heads. A little bit tricky on the lighting conditions. Ah, a little bit orders world. They're coming from the bottom rights. So you got all these highlights that happening underneath areas that I usually going to be in shadow. So the pose itself is not too difficult, but the lighting conditions. You throw up its own set of challenges, putting in some basic foundations for the torso and some arms. Now I'm looking to the shadow in the reference image here, and and I'm using that as my guide to determine where the arms begin. So this is a good example off how shadows and lighting can act as construction, all components for us. It may not be a literal truth that this is the exact point where the arm begins, but for this purpose, it's good enough, say, enough of a positional marker to start building the rest of the arm with. So this is what is meant by thinking of shadows as being a instructional component for us. So we want to be looking for every possible marker that's available for us in order to help create the images that withdrawing we don't look for these markers were just going to get lost. We're just going to end up moving out, pencil around then, if we don't know what to look for. And ultimately the more we know what to look for in terms of basic forms and gestures and course shadows and highlights and overlapping, the more we understand all this, the better the results are going to be. It's things like this walked zigzag patent that the shadows make. It's all these tools and gods that a right in front of us that we just don't know about yet . And the more we understand them, the more we know had to look for them. The more problems we're going to be able to overcome, and that's the thing about figure. Drawing on any talk of drawing is that the basic ideas are not too difficult to understand . It takes work and it takes practice, of course, is no denying that it's not like something you could just pick up overnight. It takes months and sometimes even used to truly get a grasp on certain aspects. But the basic ideas are not too difficult to understand. It's just when we have to start composing all of these different elements together, where it starts to become a bit tricky. And that's where it takes time over the past couple of lessons we've really only touched on . One area of figure drawing touched upon the basic construction of things, and this is really stage number two were advancing at all levels now and so all that we've learned previously, all that we've had to juggle, man. We now have to contend with this additional information that we also have to juggle what values in. So I'm just gonna come over with darkening these cool shadows a bit more. So just going back to l learning process Light Shadow is really the next Stage 12 learning process. We've developed an understanding off a lot of the basics, and this is really pot of untraditional color theory. In general, we don't dive headfirst into color because there's a lot more that we have to contend with . There's a lot more information, and if we're just starting out, it's going to overwhelm us because value is pot of color theory and it's going to be part of any color illustration that we do. But it's actually more important than color. So that is why we have to learn about values first and how lighting works first and foremost before jumping right into the deep end with putting all sorts of color and there still bit more blending. I'll start adding in some highlights with three or so minutes that we've got left for this image. But if you don't develop an understanding off value first and foremost and hell lighting works, your color images are actually never going to look as good as they could be. In fact, most art courses in universities or art schools they don't even really touch color until much later on. Sometimes it's not even really touched upon until you, too off. Whatever our course, it might be because value is so important. You can make out look really good with a simple light and dark value system. But if you have a color illustration and the values in it writes well, they haven't been worked on very well. The image usually ends up becoming a bit of a modeled miss, so we have to build up first their understanding off value and that value scale that we looked at earlier and understanding how things relate to each other in that respect, before even touching any colored pints. When we start diving into color, we have Teoh think about not only how the values relate to each other into the forms that they're going on, but we also have to think about how the collar is relating Teoh those forms and those values as well. So there's a lot more information that we have to juggle. So it's good first and foremost to just not dive headfirst into it and stick to this first and foremost so, like this shadow a bit darker. I think its value is a bit too late for my locking. I'm using toned canvas here is you might be able to see as we mentioned earlier. If you draw this way on this type of canvas, you're going to have a little bit more control than what you would if you were just working on white paper. And it's always good to have a couple of different time pencils as well. You can just work with one dark pencil and one light pencil and let the greys do the me turn work for you. But I kind of like to have a couple of options available to me just to see what results I can get us. Well, sometimes it's about playing around and seeing what results. You can get things looking a little stiff of the moment, so bring some gesture lines back into it. I've probably overly constructed it and you'll find that will happen every so often. And this is why are strikes have to matter when we start doing shading? We don't want to keep things to construction all. Otherwise, it's just gonna end up stiffening things up. And that is the worst thing that we can do is to have our poses look very rigid and mechanical. So that's why we want to really try and feel our way across these areas, moving up and around over that shoulder well, the way over that scapular and over the spinal area trying to feel and move your hand in that direction. All right, let's move onto the next one 15. Timed Drawing Demo Part 2: right onto image number two got another portrait image to work on another portrait in a sort of Rembrandt style lighting condition. Kind of like working on these type of images because they convey a real sense of mood. If this reference image was done in slightly brighter lighting conditions, it's mood would feel completely different. So it's kind of amazing if you think about it that something so simple is a slight changing . Lighting conditions can affect the mood of an image so dramatically. Now we've got a pretty big block off shadow that's happening here. We've got a little bit of reflected light that's coming off his shoulder, so you have to contend with that. But we've really got huge area of the face which is being concealed by either casts general form shelter. The cost shadow in this image is primarily coming from her noise. It's also coming a little bit from the lips is well, that's because the lighting conditions air coming from the top rights, you can actually told by the position off the cause, shudder with the nose that it's reflecting the angle of that lot. So there's actually two areas we could look for where the position of the lighters first is the highlights where the highlights of positioned and also where the cost centres are forming a swell or position they're angling at. I've got my facial features sorted out, so I'm just going to start mapping out this entire shadow area and you will be able to see , actually, just how much doing this little bit of construction of shadow shape actually starts to bring the form toe life already. So I put in the triangular wedge, he for that little piece of light that's covering awry that you can already start to see. Even though we haven't really done a a great deal here, we're already starting to get a sense of the form that's being created. Our minds are in some ways feeling in the rest of the information for us. We haven't even had to do any shading it to get an idea of what's actually happening here. Our minds are feeling in a lot of these blanks. We can tell that there's a shaping made that is starting to represent the structure of the nose. We've got this triangular wedge of light, which is really reinforcing that This is a cheek area, and we have not to put any talk of shading in whatsoever. We could leave this here and now, and people are going to understand exactly what this is, an image off and because it's already identifiable. What's happening when we start adding in our shadow values, it's going to elevate things to a new level, and you might be off to sea just for separating that light and dark value. How are illusion of three dimensionality has started to come to life. We haven't even really worried about me turns or highlights. At the moment. These two big areas of value have in no time at all, taken something that looked very flattened, two dimensional and has really started to push it into three dimensions. All of a sudden, this feels like it has depth to it. And when we stopped to render it, when we start thinking about and mid tone values are highlights a gradations, that's when we could start to push things even further. But it all starts here first and foremost, so I just want to bring out a little bit more of the structural components of the face. Then we could start doing a bit more rendering, and once we get these blocks of valuing first and foremost, we can then move onto the next areas of value. After that, we could start getting ever more refined in our process, and all we have to do is follow the exact same formula that we've been going over. Just look for the next largest areas of value, work on those and then gradually get smaller and smaller since the exact same process. Well, about just simple shapes and making life easy for us. It's just a quick note again. We'll go over this. We don't want to show us to have straight lines. We want these curvy, zigzag sort of patents here, and that's because I got all these shapes which are overlapping each other, and they're going to create all these curvy lightning bolt shadow shapes that's going to help reinforce the gesture of about figures of our portraitists. Whatever it is we're working on, we don't want straight lines. Fresh air is because it's just going to end up looking a bit too mechanical. The curve you, we make them, even if we have to exaggerate what we see in the image. If we exaggerate things a little bit, it's actually going to make things look a lot better. It's gonna a lot more natural than if we start adding straight lines in straight lines are kind of the enemy for something that's organic is three human figure so that there isn't a place for them and it's not like that. That will never happen. But it's just going to make things look a lot more interesting if we keep that sense of movement going. Shadows are really not just as we said, construction will, but the gestural as well. We want them to feels that their hope moving one part of this facial structure into the next we always have to think about the shadow shape is not just being something that's just stuck on the face. It's gotta be something that is used as with the construction all to first in a gestural tool for us. So I'm going to start improving thes values a bit now, making them a bit dark off the shore aside, and that's not going over these core shadow areas as well. Now as we made mentioned during the lecture, the more we dark in these core shadow edges, the more this is going to help reinforce our structures. It's gonna be very important for something as complex is the face because you got all these small structures on top of his biggest structure here. And even though we dealing with an image that has a lot of the facial structure in shadow, it doesn't mean we forget about that caution of age. You know it's going to be difficult to see now that core sharp edge is going to be affected , depending on the type of light that's hitting the subject matter, the stronger the light source or the closer. The light source means that Corsa ages actually going Teoh come across a lot sharper and of soft of the light source. The further away the light is with soft of the age is going to be, Oh, it's something in the lecture that I forgot to mention was, we actually shouldn't be putting highlights next to call shadow edges and I belong next to each other. We can put a highlight next to a car. Shut out, however, so you might see with the noise with the cost shutter that that I've got a little bit of a highlight. It's just sitting up right next to it, and that's because car shadow is just blocking the light that's coming through there. It's not actually part of the full, so we can have highlights next to car shelters, but not next to cool shadow edges. So just a little note to make on that. So let's start doing some blending now. You're more blending in, creating a few more half turns. Call that mid tones throughout the listen, but it's also called half toners wall. So if he either one down the same thing. Just another thing. Thinking off car shot is now that we actually didn't go over in the lecturers, that the closer they are Teoh the object that's costing the shadow the doctor they become. So they start to fight and become a little bit light up the more they go away from the objects. So if we look back onto the steer that we created in the lecture, the darkest part off that car shadow would be where the sphere is coming into contact with the table. So the cashier is also going to have a gradation as well got the light that was bouncing from the table up into the shed outside of the sphere. And as we made mention that anything that receives light is then itself going to become a source of life. So what will eventually end up happening is that the lot bouncing up into that shadow is itself going to bounce back down onto that car shadow area. So it's going to get a little bit of illumination itself as well. So nothing is ever really one great Big Ariel shadow. There's always light reflecting off something usually unless, of course, you set up a subject matter that's on a dark background, with only single directional light hitting them. Spend the time remaining working on the shadow values a bit more because it's just a bit too light for my liking. I mean, it's perfectly fine, as is, but still lacking a bit of the drama that's in the reference image. So just work on this for a bit longer, with time that's remaining mostly thinking about that shadow shape around the eye socket and, no, his area bring out a bit more of that core shadow edges. Well, you can obviously work on this for hours and hours and keep refining it. But it's certain point you've really just got a move onto the next one. Don't get too obsessed with the image that you're working on. It's never going to be perfect. It's never going to be exactly right. Just learn whatever you can from that particular drawing experience and see what you can do better. Next time you're going to go through a lot of drawing. So there's no real point in obsessing over one particular image. Just get as much as you can get done as best as you can, and then just move onto the next image. You always gonna learn something from each image. It you troll. All right, let's get on to the final one. 16. Timed Drawing Demo Part 3: all right. One more to do. We've got a pretty cool looking dynamic pose. He is sort of, ah, superhero comic book stall action shots. Another one of these tough approaches that you really want pushed to its extremes, pushed to the extreme or makes it look like the persons arm is going to break. And then my beaches back it off a little bit. Don't want to go that far, but you'd be surprised, actually. Hell, Donna, me. He could make these poses and how much you can actually exaggerate before it starts to look a little too over the top of since a really good artwork by some artists who really make these nice, fluid, dynamic poses somehow work. They pushed the poses to the point where you think that this person's surely going to dislocate a shoulder or subject. But there's something I might go work, and I localism if you're going for more realistic interpretations off characters and people probably don't go that far. We can always bring it back there. We exaggerate things a little too much, just working some construction that will take away some of the elasticity. But for comic book stuff, you can really sort of stretch things a little bit more than what they should makes things look a lot more powerful. So if you've got like Superman punching at something that extra bit of curb, it shoots that, um well, that extra bit of gesture to that torso, that little bit more of a twist. It's just going to make things look a lot more action packed, so don't be afraid to doom or than what's there. What many beginning artists tend to do is that they focus too much on trying to do exactly what the images saying. They're trying to do something that's 100% literal. Sometimes you just got free yourself a little bit. Sometimes you just got to say, like I want this illustration and I'm sketching, too resemble the reference image. Consider the reference image is the worst case scenario. That's another good way to look at it. And another reason. This is actually really good images, because performs that the anatomy is creating is really on display of Go away these lumps and bumps and the crowding all these really interesting shapes and all these nice flowing gesture rhythms. And so it's a good idea to not just practice with figures off what particular body type so practice with athletic people, heavy of people and everywhere in between. I've got some foundations in so looking some of the shadow values and again feeling is if they are wrapping around the figure, really making these shadow shapes, he feels if they are rapping from one body part to the next. We've got this shadow area on the deltoid, which is really wrapping around and connecting into that's scapula area, the rib cage sort of compressing into the obliques, creating always really cool shadow shapes and really ring enforcing these forms as well, doing more of a coin book star with this sketch, so much is continue with this. Instead of trying to go for realism, they're gonna be different techniques. Vote how we put out shading in. We put our lighting in different types of mediums that we use. They're gonna require different approaches to shading techniques, so that's something like graphite or charcoal. It's going to require a slightly different approach to values and blending than something like, I think so. Pens or markers, correct books will tend to use big blocks of shadow in some cross hatching to get the illusion across that something has formed for something like graph fights left there usually pencil something in and blend it and then come over it again. Maybe have to rice parts of it out to bring out some reflected light, says different technique. Something like paints. You can kind of just paint over and over again, getting your values right, heading in as much black or as much white point is, you need to. So it's a lot more forgiving that one. So they were gonna have different methods. But the ultimate goal is to get the same result. The illusion all form. So again, it's really just been a case of blocking in these main values of shadow to start giving off the illusion of depth and with very little blending done to it. If you were to come over the top of this with ink, no other tonal values, no gradation, just big black shape to shadow, it's going to work. It's going to have people thinking that there's a form there of some description. It's not going to be super detail, but it's going to be enough information there for people to work out exactly what's happening and exactly what it is they're seen. So even if you're not planning on doing realism, the ideas and concepts that have been presented in this lesson are going to apply. No matter what technique you end up ultimately going with what style of illustration or graphics work you want to try doing, whether it's realism, mole, comic books or animation or maybe something abstract. Whatever it is, these ideas of light and shadow and how they help create form are going toe apply no matter which area of art and illustration you ultimately decide to pursue. So I think this is just for one particular area of it's going to apply across many areas. So it probably made this image a bit too structural to be too stiff for my liking, usually. But because it's more of a sort of comic book, any type of stall have going for it kind of works, So I'm not gonna worry too much about smoothing off some of these more angular lines for this one. It's got slightly more of a hard edge look to it, which would make sense if we were drawing a comic book character superhero character. We want them to look sort of tough and made of stone is if they can take a punch. The male characters anyway. You probably wouldn't want to do this for the female characters, at least not too often, but the ladies to look a little softer with their line work. A little more elegance. So let's start docking these values up a bit more, so I like to build up to the core shadows. Some artists will just put huge blocks of shadow values in and then work on bringing out the reflected light. I have a tendency to not be quite so bold with my shadows and gradually work my way up to the So it's going to be preference exactly how you work you might find, putting in huge blocks of shallow works best for you, so there isn't exactly a right or wrong way as to how we go about creating our shadow shapes. What is important is that we follow the laws of light. How we get there doesn't really matter as long as we get there. We don't have the luxury with light and shadow that we do with Aaron. Short gesture and construction. All foundations with those foundations weaken create for ourselves a set of tools and shortcuts to help us get to the desired result. But as soon as we stop thinking about well, where exactly is the lot coming from here? How is that going to affect their object? Then we are going to have to be beholden to does walls of light. So there are no shortcuts for us. He we can create ways that ah, easy for us is possible to get there. Unfortunately, our path in this part of the journey is already mapped out for us. So unfortunately, we've caught a follow this one. But the beauty part is, if we do, we get some really good results. But this is still very much just a introduction is going to be a lot more to learn when it comes to value. When it comes to light and shadow that will go over in a different Kloss later on, it's now go over this as often as you need to. They were going to be additional image references in the course notes for you to download and practice with. We only did three images in this top drawing. Citian so highly recommend going through those images and practicing them as well. So set your in time limits. Spend as long as you need to on a couple more of those images, or search for your own practice with images of different lighting conditions of really harsh light, really soft light and even try hand practicing with images that have multiple lighting sources. That's a completely different challenge, but if you think you're up to it, give it a goes Whoa! So I hope this class has been value no pun intended. If you have any questions or anything clarified, please feel free to post them in the community section and, of course, poster projects to I really enjoy seeing the work. Some of you are doing so until the next Listen que practicing hard. Keep studying and remember to have some fun, so I'll see you in the next lesson.