Creative Process: Contour / Draw Sensational Lines | Jennifer Moorhead | Skillshare

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Creative Process: Contour / Draw Sensational Lines

teacher avatar Jennifer Moorhead, Artist, Art Professor, Entrepreneur

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 23m)
    • 1. Introduction

      3:06
    • 2. What is contour?

      7:00
    • 3. Blind contour

      7:16
    • 4. Contour

      9:44
    • 5. Cross-contour (part one)

      7:49
    • 6. Cross-contour (part two)

      7:13
    • 7. Cross-hatching contour (part one)

      8:37
    • 8. Cross-hatching contour (part two)

      9:51
    • 9. 3D / Descriptive contour

      9:38
    • 10. Your contour project

      11:52
    • 11. Final thoughts

      1:05
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About This Class

Creative Process: Series is a "stand-alone" series of learning the basic techniques of Fine Art.

Contour is the first step of learning how to draw. This class is about hands-on contour techniques with fun and easy exercises. Let me teach you how to really feel confident in the drawings you make while enriching your own creative style.

This amazing drawing class is designed for a beginner level artist and a great refresher class for advanced artists. As a beginner, do not be overwhelmed. Just try out the exercises with me and you can definitely learn pencil techniques. Learning art is by "just doing it".  I am here to guide you through the way of creative self-discovery. It's an absolute joy to really have the essential drawing skills needed to create what you want! 

Come and enjoy making art with me!!!

The Fine Art skills you will learn:

  1. to create sensational lines to define form.
  2. eye and hand coordination.
  3. tips and techniques for drawing: contour, cross-contour, cross-hatching, 3D contour, and implied lines.
  4. positive and negative space.
  5. basic understanding of shape and form.
  6. drawing from observation.
  7. basic compositional formats.

Materials list:

Sketchbook (at least 9” X 12”)

Pencils (Soft leads)

Ink pens (Mulitliners or pens that don't smear)

Pencil sharpener

Plastic eraser

Feathers (at least one)

Meet Your Teacher

Teacher Profile Image

Jennifer Moorhead

Artist, Art Professor, Entrepreneur

Teacher

My purpose in life is to share and 'give' my art knowledge to you.  I am confident I can teach you to develop and 'find' your creative artistic 'gift' through my unique fine art teaching methods. 

I incorporate the same fine art methods that I taught in college for over 34 years yet I modify the art exercises as fast-paced, easy to understand, and simple to create. The exercises are all 'hands-on'. This allows you to really explore and experiment with the art methods...while having fun! 

 

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Transcripts

1. Introduction: Hello. I'm Jennifer Morehead. I know why you're here. You're here because you're serious about learning how to draw. This class is just I'm a professional artist as well as I've taught college for over 35 years. This classes for a beginner. It's a great refresher course for Advanced Student. It's in a Siri's that stand alone, which means you can take it Any order that you want to. It's called creative process Are essentials learning all the necessary artist Such skills this class specialized make really sensationalize I'm so happy you're here right after this will be my art Materialist and overview of all the wonderful skills are gonna learn Here's your materials list You want a sketchbook at least nine by 12 inches. They have pone weight on there. Get 60 to £80 weight. Anything less than that, the paper stew thing To work with pencils. You want soft leads to before B six Bigger ebony pencils are great to work with your ink pens Just pens that don't smear. I suggest one is called Koppett Statler Mars plastic. A raised to the best of racing You ever get because it doesn't crumble and it doesn't rip your paper, a pencil sharpener and feathers. At least one this will be for your final project. I'll be showing you a few of the exercise will be working on. The 1st 1 is candy. It's a very quick drawing. You're really learning the continuous line of contour creating line to define form. This next one here is Cross Contour. Not only will you be learning the technique of controlled lines, but you'll be learning about implied lines. This is one of a hand you'll be definitely drawing from observation, which is a very essential way to learn how to draw. You'll be developing the skill of cross contour, how you'll be doing cross hatching and also learning about composition. He'll beginning to get a basic understanding of shape. Inform here with the pair were going more with a three D form using effective use of cross hatching technique. This one of the dog you'll be learning three D line by using different line weights in your contour. Also be working from positive negative shapes, and this last one is feathers. This is your project is that you'll be doing on your own head in ink. This is the one on the left and also in pencil. So all the skills that you've learned along the way you'll be using your own compositional format. You'll be finding that by this point it's gonna be so easy. You're gonna be so excited about your results. It will be absolutely successful. Thanks. Look forward to you that my class can't wait to see your work. 2. What is contour?: What is contour? Contours of French term meaning Outline describes the outermost edge of a form. I have a piece here by Paul Klay, which is considered contour, and it's really very lyrical, and I want to start out with that because I want you to enjoy cunt or not always feel it's so concise and contrived. Paul Klee's He was a Swiss painter in the early 19 hundreds, and I really love this statement. That he made a line is a dot that went for a walk. So that's how you should interpret it. You have the control of the line, and you're going to make some beautiful work Hard is doing. Let's start making lines. Get your sketchbook gonna pan. Sure, you don't draw right on top of the other sheet of paper as well. Make it in dense. So flip it over and I've used sometimes a car board the back of that. And so let's make straight lines, curved lines, all kinds of lines. So we're starting to get eye and hand coordination as well as making beautiful lines. I've started out here with some artist's creative you very brief quickly, but it gives you an overview of other things that you can interpret into your work. I think it's great to have a full perspective of things. Three artists have choses heading Matisse, David Hockney and Henry Moore. Henri Matisse it Henry Moore in the early 19 hundreds were. David Hockney is more famous in the sixties and seventies, although he's alive today and still creating wonderful pieces. Matisse's French, Hockney and more are both English. Henri Matisse. This is a piece of his A self portrait is a printmaker, very lyrical in style. He made a comment about drawing that It's a very intimate means of expression. Here we have one of a swan and just look at the composition in there, the positive negative space being done where the swans positive and then the negative spaces, all the space surrounded. Here we have a figure with some polish to the left of her, but look at the positive negative space and just those wonderful contour lines expressing that figure. Here we have another contour lines describing the wonderful bouquet of flowers here. I love these next two pieces by Henri Matisse. They're done with white on black, and the wonderful part about they're very lyrical, very simplified, very actually modern looking. And I think they give you a whole new, different perspective looking at, especially with figure very simplistic, down to the total essentials of art. Here we have David Hockney, great contour piece. One continues line describing form. We have another piece. Look at where he's left things out. You get that implied line, and it looks like it's that foot is resting on something in the back and giving you perspective in here. Great things to be working out. What you when you're working your sketchbook of taking really quick studies of figure two pieces, you can tell David Hockney's a painter, and here he's a little bit of water to it. But look at his composition. Look at the negative positive space and how it just moves all through the piece just beautifully. The next See pieces. I think a really interesting because I love them in the fact of the simplicity of the subject matter, people sleeping. So there are three all of these that you can see, but you definitely see if point in there because of where there's more lying applied, giving it a darker value. You can. Definitely. That's where your eyes go first and move throughout the piece. I think they're They're fun to look at last order, so I would be showing use. Henry Moore. He's a sculptor. Here's one of his sculptor pieces. He's mainly figurative, and they're kind of massive, curvy Lanier sculpture pieces usually done. It's Joan and Bronze, these areas drawings. I think they're wonderful. They have that same quality, the MassEquality. But look at his line work in this wonder for cross contours and cross hatching. Here he's done a segment of co unusual shapes of bones and fabric and all kinds of things, and to play around with the darks and lights and the different quality of line notices. Cross hatching isn't really tight knit, so it has a really wonderful flow to it. So it's another interpretation up cross stashing and then lastly, off the sheep. It's just too fun. And I think I just want to share with you that art is fun and really have a joy with it, and not to be so critical with yourself of every mark you make. But to learn to make wonderful mark such a just be excited of what you do. Let's begin drawing Contour. What? Just aren't drawing. Your idea of a contour is so I'm gonna have you place out a couple of your feathers and composition that you want. This is a starting point, and you're not gonna be working a long time on this. You're just gonna go back and refer to this at the very end? When you're doing your your project, you could say wow, look how much I've learned. So this is just giving you where you begin. Studied it aside, and after you finish, your project will say Whoa. Look what I've learned. It's gonna make you feel great. Now, this could be your ending point. You don't have to finish the whole father unless you want to just get you an idea of where you're at and things that you're gonna be learning along the way. Teoh, add to that so you can remember back. Oh, now I know I could do this and now I have a detailed version of it. So be thinking about this. Get excited about the next project. We're gonna be working up 3. Blind contour: We're starting out with lying contour here. Just pick out 1/4 of your room and start drawing, I specifically said with 11 area and then I'm letting my eyes read the edges, and that's what my hands joint. It's imperative to draw from observation, because if it's just a picture that you're drawing from, you are really losing. Bet I in hand control. It's the whole aspect of learning how to draw so fluid lines. I'm going rather quickly with it. I'm just breaking up space. Enjoy what I'm doing utilizing the whole space notice. I'm not join. It's so small that you could barely see it. I have all this space all around the area. I'm not looking for perfection. I'm looking for shapes and playing with it and feeling good about it. Notice one thing I'm doing, I'm keeping our wrists straight and I'm working from my arm. This will give you better and control notice. I've also working up a surface. Always take the edges off the paper looks nice. I'm using a little larger sheet of paper for you to view from. I'm picking up a regular object. You control what I'm doing or to find an object for you to do. This is called Blind Contour. I am not looking at my paper, but the only thing I'm looking at is the object itself going very slowly with it, trying to read my lines. It's like taking my eyes and reading the edge very slowly. And I'm doing that. That's what my hands doing. You'll find that you can't match up everything because you're not looking anything to checkpoint it. So it's not gonna look perfect. But this is teaching you how to see really, really important. And we're gonna draw it again. Thisted time. We're going to be looking at the paper just for checkpoints, not to be Syria to the papers because the papers not gonna help you draw. But it will just give you, like, where's your hand going and see? Hopefully this will look better than the blind contour. Sometimes it doesn't. But that's okay. You're beginning your learning. You can always draw it again. Notice set. I haven't lifted my pen off. It's one continuous line, so sometimes you go back and forth with here . We're working from a hammer. Same thing starting out with a blind contour tools are great to work from. So if you have tools around, which I'm sure you do, you know, hammer pliers, screwdriver and he like that and place it next to you and just start and doing that one continuous line, starting with the blind contour and that will come back and do the break you find. The more you do this, it's better you get. - If you don't feel comfortable with this at this point, just go back and keep redoing, drawing, learning art again by doing and having fun while you're doing. 4. Contour: we're starting again with another line. Contour here were describing mawr inside, getting all the creases going back and forth upon continues slung, keeping wrist straight, taking her time, utilizing this space lot to think about. But most important, have your eyes be reaching the edge and your hand follow along. We're working with pen and ink right now because I don't want you to be a racing. It's too easy to raise. Go back and forth and back and forth and you don't learn that way. So it's really good. Just a draught and it doesn't work out. Draw it again. You, Thanks have added more items together, but I'm going to approach this a little differently than I did with Candy. I'm going to start looking at the negative and positive space and what I can see. I see that really dark, large space to my left. I'm gonna begin there. That will be my negative shape and will help me. A line or that handle will be for the spoon. This is a new, important way to draw because you're looking at shapes as well as the outline. So you're doing a combination. That's why it's so important when you're taking this class is to go through each of these stages because they're gonna be learning a little bit more. Adding to it. Please make your own arrangement of kitchen utensils. Even you have a couple of them, place them around on the table. This will be great. You really want to look at what you're drawing? This is gonna take a little more time than the last one, and you'll be letting your eyes read and it will be slower. It's a slow process because you're connecting them to together. I feel good about it. - Yeah , Thank you. Don't worry if your lines are straight or the spaces between them are perfect shapes. You're gonna work through this. Just keep going. You can go in a little bit where it reflects the inner part of this spoon. I'm just playing around with reflections Just kind of having fun doing this. - I hope you you feel good about your piece if you do. Hey, send it to me. I'd love to see in the Project Gallery will be funded to see what you've accomplished. 5. Cross-contour (part one): now we're going to move on. To cross Contour is a wonderful exercise draw. A couple shapes their circles and ovals, making these long, wonderful lines and going over these shapes, making them look like they're three dimensional. And it also deals with implied line. As you're going over those shapes. It's looking like there's a line around there, which I know I've created them in the beginning. But you really don't see them such with jagged lines. So try to get your lines a straight is he can. If they're not straight, don't worry about it. This is just a practice and it's a fun practice. This is the finished version of the exercise. Does this look right? Well, if you think it looks right, it's not. You know what you're looking at. You think you know what you're drawing, but you're not looking at it because it has no lips. Top matches the bottom during the sides, and now I'm doing the bottom part. The bottom matches the top. That's how it should look. Not like that. They should match up if you really look at it. So drawing is looking, drawing what you think you know. But drawing what you're looking. Notice how I'm even drawing the handle. I'm going around and then filling in the interior of it, that negative space. I don't like that angle there, so I'm drawing it one more time. I have a tendency to be perfectionists, so I do ritual things. That's okay. That's what I enjoyed it. And now I'm looking at the corner and coming around there with that one gonna show you different ellipses. Here's one that's wider. He knows I don't like that. Here's another one like that edge, and that's a beverage to it and draw around these ellipsis. It's great. It's a really great parting process. No, some changing how I'm handling the pencil holding differently. Masking tape still has the same process. Cylinder shapes ellipses, Careful not to get the edges to be football. Taking different shapes with but still on the lips stays the same. That's a great exercise. It work with this. Have a marker. It's longer shape. Try to draw different a cylinders that you see your hands are basically cylinders were going to take that same idea and working towards drawing your hand and you'll think, well, I've lived with my hands my whole life. And why can't I draw them? It's because they haven't really looked at them. You got used to looking at it. Now we're going to take a little time and start looking at how to draw hands. These air have three artists up here. The 1st 1 is Aleta, our next artist here. Just palm on. Just do quick studies have drawn your hand in all different sorts of positions and lastly, here to show you. And this is a Valencia. And look at just the beautiful line work, especially on the upper left hand one. Now, put your hand in any position that you'd like and start drawing. Going to do this in one continuous line and really go in and look at the edges very carefully. It going in and out. - Thank you. This is your first attempt at drawing a hand. Don't be frustrated. Just draw the hand. Just keep doing it. I know in one of my projects I had my college students is to fill a hole sketchbook up at least 100 pages of drawing their hands. And it was so interesting the beginning. They looked like they were drawing around their hands and towards EEA, and they were just beautiful and so creative. So don't be frustrated in the process, the process important to go through its experimentation. If you feel kind of tight in the way you're drawing right now and it just your hand almost feels cramped. I have a class that's called Gesture joined, passionate gestures. It's a very great class to take because it's it's a very fast moving lines. It really builds up your muscle structures in your hands and the flow of your lines. So if you getting frustrate, you could take that class and just kind of go through that. Get some a little bit movement into your in your drawing process. If you've been following along with May, I know you're just doing great 6. Cross-contour (part two): going to be joining your hand again. This time we're gonna be doing a little bit differently. You're gonna be drawing it out lightly. You can use your racer at this time. Really? Look at the positive negative shapes. Stephen, get the proportions down as well as you can, and then to go over and take your time and draw your continuous slide. - I've added more detailed to my line as I gone into it and coming out, I also have drawn not in a continuous line. Most of it is. But I've picked it up and moved it around as well. - I like birds at right now. I feel very confident about the shape of it. And I'm gonna come in and really work on my cross contour. Thanks. I start out using short strokes because I could make very clean, concise, short strokes on, then still apply more strokes on top. - You can see here I've applied more strokes and also pressure to my line to make a darker making sure, like you see where my thumb is on the left side. It's much darker up to that edge. So now I'm creating more of a a sense of form. Also to the right of the thumb, you can see it darker, so it's almost eliminating my contour line and giving that that implied line in there as well. - Yeah , I'm using my eraser and use my razor just to pick up highlights versus trying to race the whole thing. I don't want I don't my drawing to look overworked and with when you're doing cylinders and you'll see it along the way. If you have the dark all the way to the edges on both sides of the cylinder, it will appear flat. It has ah highlight on either edge to make it round Here. You can see those highlights notice on the right side of my thumb all the way down hand. I've got that highlights. So now you see a differentiation. It looks curved. You have the darks going back. Thank you. - You're pointing out to where the highlights are, how I've left that edge lighter to give it that three dimensionality in dark center place underneath there. So something goes above and back. I want a dark in the Syrian a little bit more, more complete to feel finalized. And now it's complete. Where I have my wonderful across contour Cand But yours looks great. And if you've finished put up in the project, I would love to see it. 7. Cross-hatching contour (part one): this section is on cross hatching anonymous artist just to see what we just accomplished with the hands of what the cross hatching does. So there's an overlay going over just what it means. Cross hatching when the artist said, does a really good job with cross hatching is Albert Dir. So if you have a chance to look up his work, I think it's wonderful what we're going to be working with shells. So if you have some shells for small objects or jewelry or things like that, let's try to group women. Three. It's always best in a compositional format, an odd number of objects versus even reason being. We have a tendency in our mind to be able to see even objects more than odd objects more interesting, and it keeps it more of a asymmetrical balance to it. I have a little bit of overlapping with the shell down below on the right. I think it is a kind of an interest to it, doing a very light pencil sketch very, very light and then coming back in with our one continuous line. Yeah, thanks to make a composition interesting. One of the elements is to have things that are different, a variety of things. That's what I've chosen. Three different shells and shapes. I've also created that overlap, which gives me a point of interest to look at that first and move around. The negative space that you see is just this interesting is a positive space. It's not too much or too less of each other, so they work very well together. - I'm bringing in my curves right to the edge of the shell. Now I'm bringing my cross hatching down notice. I'm going with the curve of the shell. So it's coming across and curving around You , - I noticed are not using my lines all the way around the show. But I'm leaving areas open. Like where the highlight is nothing. This makes it very interesting. And this is where you can leave things open and not do them. And I think it creates a sense of interest to it. Thanks. - What's nice about having the object that you're observing? You can pick it up. Really? Look at it so you can examine it even closer. Yeah, I've now completed the piece. I think it works out quite well. I have another one here that and it's, ah lot heavier. It a lot more work done to it in lights and darks. And this when I include the shadows, the shadows will gives a sense of weight to your objects as well. 8. Cross-hatching contour (part two): in this section. We're going to go a little bit further with cross hatching and add more value to it. I'm gonna show you a value scale, and in here you have eight segments of value and be thinking about that, versus just two values or three values to a shape. Think of as many as you can create and a really nice flowing nuance of differences between them. We're going to begin again, drawing very lightly. We're going to be working from a pair. If you can get a pair that it be great to start with. If not on, Apple would do, have it set up recon. See it, Have a nice lighting on it so you can actually see the different values in it. And let's begin. We're gonna work in pen in ink. You can see that I've outlined it already with my ink pen and going through and getting a little bit of details in it here, and we're starting with the contour, short strokes and really looking at the curve of the shape of the pair. If you've been working through all these projects with me, you will certainly notice that your line quality is is just getting wonderful because of the practice and things become even, and it just becomes second nature to doing this. Thanks. At this point, it almost looks like a material. You've got this crosshatch e, and it's now you're gonna have to figure out how to interlock this. So we're gonna be going over and over still having those wonderful lines and consistently drawn. - We're starting right here to really begin to see this takes shape. It's kind of fun because it looks so good. It's a very controlled way of drawing. But it's a finesse. That is just a wonderful technique to have a skill of knowing. Yeah, - I noticed that I have left some of the parts very light on the edges. As you can see in the pair, there's a light coming in from behind, and especially where you see the shouting, you can see the lightness of it coming through. So I'm showing that, but not all the way through. So it looks like there's a line in white and then the shading, but you just have it flow in and out. So it it will still give the creation of it looking like it's three dimensional going over this over and over again. It's starting to darken up areas and fill in those gaps, and now the smoothest is starting to show. Looks really dark in the middle of this pair, but I'm going to make it a little bit darker to the right of it and give it more volume to the centerpiece to make it a little more interesting. So this is an artist advantage, you know, so little hand movement. That's because I have to almost feel like I'm touching it myself just to discuss the idea of the form again. And right now we're at a stage of When do you quit? This is one of a tricky thing. I think that happens to artists from time to time is when you stop because you can keep going and going. Till then, you've gone too much and it's too overworked. It's the time to start thinking about when you're gonna quit. If you notice I'm going around with my cross set, you know, I've already done look the curves of it. So it's really getting a value change in there. And Walla, I hope you're enjoying this. I sure am 9. 3D / Descriptive contour: this segment is three D contour. Another term. Be descriptive contour. We'll be working in pencil. Here's a little drawing from Al Burger and we will be doing a putt. I'm going to begin with the light drawing using pencil and notice how I'm holding the pencil and I'm moving it where it has a lot of movement and flow to it. Here's a picture of my dog. This is my new puppy I've had for a couple months. I adopted her name's Bella, and I've come like this composition. So everything looks like it flows and plays around. Have your pet or do this one. And it's it'll be kind of fun if if your dog doesn't stay there. I think it's kind of good, because that's how these to draw years ago. You have to just keep looking and looking and looking and and create that drawing or drawn when they're sleeping. That's a good one. My lines are heavier in this fun. I'm just looking at the shape of the head. I'm looking at the curve of the back, the body itself, the spacing in between the lays with shape that is on the side of the body and really looking at a proportionately. I'm also taking, measuring the with of the head and how Maney, wis of the head doesn't go down to give length of the body and the curve of the legs. Here's one of my tips to make a really clean drawing. I flipped over this drawing and I'm taking the side of my pencil, and I'm just shading it everywhere that could see the line coming through of what I've drawn on the other side. What I'll do is flip it over, put it on a new sheet, and I'm gonna draw over Dog very clean and concise. Now, to make sure you know what I'm doing is up looking the paper up. You can see the marks that I made, and I'm just drawing on this drawing so we'll make when I do my lines, it will show up on the other page can hear it. ISS. I could begin to draw and dark in it in places and started to really look at it again. And because you can improve, go along and get very detailed with it. What's couldn't change in this type of drawing is you're gonna add pressure to your pencil , meaning as it goes back in space, you're gonna push down on it, or is it connects up with another line is to make it darker by pushing down on it. There's several ways to approach this. You can have the lines going forward, the lightest, with the lines going backward as the darkest or the reverse, but you want to do is remain consistent on a whatever you choose to do. I like the lines being darker, Zago further and also, when they cross over, - join the dogs. The same is drawing the pair or shell. It's just shape, and if you can look at it that way, you will draw so much better than trying to look at it as a positive element. But start looking at all the native spaces and the different shapes within it. If you enjoy drawing animals, I have two other classes I published at Skill share. One is titled Captured, the Personnel of Your Pet Draw Custom Portrait. This is done in pencil, and I have another one called Draw. The personality of your pet easy subtracted method and charcoal. And it is. It's a really easy fun class. So look those up. Can you start to see just the usage of one line to describe with pressure on it? It looks three dimensional. You should really be able to feel that I hand control just moving and gliding along. Do you? I always go back and look at my dog and just keep doing little drawings of her because it really helps the drawing come toe life a lot more than just looking at a photograph. And if you have photographs, your dog tried doing several of them together and up close. And just so you're really, really capturing that moment, you. Thanks. Here's the final piece and hulk out. Relax. The dog looks and it just feels like it's gonna jump right off the couch. I'd love to look at what you did. What? Pech it that you've drawn, you know, Please posted on the project gallery next but will be doing is our project 10. Your contour project: Here's where we started. That's your first drawn. So put that Assad's you want to see what you're gonna be doing. You are going to be creating your own composition of things that you've learned through the class. So I want you to think of all the skills that you've learned and put it together in this project. We're going to be working on feathers. You could do it. Several of them remember to do odd numbers. I'm going to demonstrate for you one doing it in pen in ink and another one in pencil so you can choose either medium to work with. And once we've done this, you're kind of on your own. And I love to see what you come up with to really show in the Project gallery. - You really work your skills that you've learned those wonderful marks that you make every mark that you do make should be very important. So crisp, concise, detailed. And if you notice what I'm doing right now, I'm doing the areas that are a little bit lighter cause I'm gonna go over that and then I'm going to be showing you the differences of how to get the gradation of the different values in the color of the feather. Notice these long lines that I'm creating here and you can see the dark ones there. Now I'm coming back with the lines to create that nice Hurst edge of the feather. - Yeah . - No , Kobe, back with my cross. Such thank you. - I'm now making finishing touches. I want to do the top part of the feather a little better when you're composing your feathers. You could just have one feathers so you can repeatedly keep drawing and again in different places and also different sizes. Remember variety and the movement of it. What's gonna be your point of interests? What's the next thing? You're gonna look at it, so play around with your feathers and move them around. I'm gonna draw feather for you in pencil. You really grave with this? You could make a real large one, or you could do three separate ones on different sheets of paper and align them. So have fun with this. You can add pressure to the pencil to add more depth to it. That's what you've learned in your three D. Now you can see I take a different approach to it because the different medium I'm working with, I'm just so excited about what you're doing. I wish I could be there with you. Be drawing with you and see what you're doing. I'm really excited for you. - People ask me about how to draw hair. This is the same process. It's lines going back to get the different depth to it. So if this is usable for so many things, I'm coming to the finalisation of it. On what I'm noticed, saying they both have really kind of same qualities as well as different qualities. But you'll find you're gonna like one medium, them the other. So do enjoy and pick something that you like working with. This is one difference. Using pencil and come back my eraser and create that nice edge to it. It's complete. Here's a detail off the one that I didn't pen in ink and next is the one that I've done in pencil. Don't forget when you finish your project, look at thier first, drawing up your feather and really see how far you came. So how exciting 11. Final thoughts: thank you so much for taking my class. Look for more of my classes in the critic process Artist Central, Siri's and I also advanced classes to look at, so please look for them. I really will enjoy looking at your work. Don't forget to post them in the project gallery. Love looking a job. Work right after this are few slides of my artwork, so I hope you enjoy and hope to see you again with three pieces such a be viewing our joins have done in my sketchbook, and we have somebody sleeping. Next. We have landscape. I really like leaving areas on drawn, so it really makes it a creative composition, something to think about even in your work. Here's a figure looking to the left, and this last piece is a professional piece, meaning I've sold it and thought that kind of interesting, just very, very simplistic. But the line is so important. Enjoy