Draw A Line & Get Creative - Part 1 | Karen Friedland | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Draw A Line & Get Creative - Part 1

teacher avatar Karen Friedland

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

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

5 Lessons (17m)
    • 1. Introduction & materials

      2:08
    • 2. Getting set up

      1:35
    • 3. Parallel lines

      5:30
    • 4. Perpendiculars

      2:36
    • 5. Adding gesso & Conclusion

      4:41
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

60

Students

--

Projects

About This Class

Come be part of the Creativity Revolution! This class takes you on a journey of self expression. With simple materials and no art skills required, you will draw a dynamic work of art.

Meet Your Teacher

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction & materials: Hello and welcome to my studio. My name is caring Friedland and I'm a visual. Artists have painted principally, but I also wear again collage, printmaking and mixed media and sometimes even sculpture. And I am leading a creativity revolution, and I want you to join me. And the way you can do that is with what will be using today. My Kardec called Art sparks that I created to inspire people with artwork on my artwork on one side and different projects for every day of the month on the other side. So today we're going to be using project card and card number one, and the project is called Draw Line and get creative on the back of that, so are to inspire you. Our materials for this project are very simple. We'll start with a piece of paper. This one is 12 by 18 and but you really use any size. The bigger the better, because the bigger the paper is, the more free you're going to feel toe work on it. The next thing will be using is charcoal. I like to use flying charcoal. I like it because of the pencil shaped, and I also like the fact that it's very smudge. Herbal. If you don't have vine charcoal, you can use pastel or graphite pencil or water soluble pens, pencils or crams. The third thing will be using for the project is Jess. Oh, Jesse is the thick white paint that covers colors and marks on your paper, and it's used to correct or or change things. I like buying just because I use it a lot, and so I buy it in big bottles, but they sell smaller bottles. 2. Getting set up: The first decision we have to make on our project today is what direction we're going, told the paper. You can hold it horizontally or vertically now. This may seem like a small decision, but it really is very important and will dramatically impact the look of your drawing. So that's your first decision. Second decision is whether you're going toward fled on the desk or at an easel, or you can do what I like to do a lot of the time, which is attack the paper up to the wall. This lets me work standing up, and I recommend you're trying that because it's very freeing for your expression. This strong is going to be all about rhythm. We're going to be drawing parallel lines across the page and in order to make it interesting, we're going to vary the lines by length by thickness, whether they're broken, they're solid on by the spacing between the lines. Since rhythm is what destroying is all about, we're going to get some inspiration from our favourite music, So I want you to pull out your favorite music. You're going to close your eyes and listen to it and imagine what that music would look like what the rhythm and B would look like if it was drunk on a piece of paper Good. 3. Parallel lines: it's time for all of us to turn off our music because that's all we want from it. We want inspiration. We don't want it to dictate what we're doing and address our paper. I've decided to put my paper my page horizontally because I think that works the best in our video. But you can do sores horizontally or vertically, and the first thing I'm going to do is tape it down because, hey, toe, have my paper shift around on me. So I'm going to tape them to my desk. What I've decided to do is that I'm going to do vertical lines across my horizontal page now that now, well, these lines are going to be parallel, and they're all gonna be in the same going in the same direction. And, um, you may think that that's going to end up looking pretty much the same. However, as we do it. You're going to your job as the artist is to provide variety. So I'm going Teoh, sir, from the right side, because I'm left handed and I'm just going to start by drawing some lines, and all of them are going to be parallel to one another. But where it comes in that we get the variety is in. The spacing is in the placement, a rail lines and the size of our lines. Now I want you to remember that that space can be as powerful an element as whatever you fill the page with art wise. So that's something that's important to keep in mind. I implore you to be is very this you can, and don't worry about it too much. Don't get too fussy. So the point of drawing all these lines and doing this drying altogether is to be expressive. And I want you to feel that you're being able to express yourself in this in this strong. Now I've got all these lines. They all look pretty much the same thickness, but I'm going to create some wines that are varying thicknesses. And don't worry, don't get yourself too worked up. If it's straight or not, I know this is could look like block, but in essence it's just a very thick line. And here we have the opportunity with the Charco to lay in the shape and to use our fingers to smudge it, and that lightens it and you can do that with any of your lines. You can change the tone ality. And so now I have a large block that changes the whole feel of the thing. And I think from this large walk I'm going to have three lines coming up short lines coming up progressively because that feels kind of staccato for me and in fact, where it's the condo I would like Toa have over here. I think I'll have it over here, a broken line, and you can create this any way you like. You can bury the lengths, but these are still lines, even though they're very thick, are very thin. And here I want to have this one run down and punctuated with the dot over it. And I like, I tend to like things in threes, so I'm going to go there. And so I want you to work across your page, making all your lines, going in the same direction, being parallel and not getting worked up. If they get a little if they're a little cock, I because I'm the last person to talk about lines not being street 4. Perpendiculars: Okay, now we've been working one with our drawing and we have love lines in here and all of them in my case, air going vertically on my horizontal page Yours may go vertically or horizontally or even diagonally, but they're all going parallel to one another and I've started filling up the page and now I'm going to punch. Wait. My heart is on my vertical lines with a contrast sing line Ah, horizontal. So I'm going to think about where these lines are going to go because thes lines, because there are so few of them, will be really important in this drawing, because by having something that contrasts, it always draws attention to what is in the first place. And so during this broken horizontal line across these pieces and maybe I have a set of horizontal ones that run here, I like that they cross one another, but don't touch. I just think that answer an interesting element. And I may even have this one. It's based a little wider. Charcoal does that. You just blow it away, and I think I'm going to go even why they're here. Spacing is really spacing in placement is what this drawing is a little bit. But when I do a drawing like this, I find a very meditative and a real expression of my creativity. So I hope you're finding it to be the same, and I'm going to do a strong horizontal. So with just a few horizontal lines, I feel it's it's really changed the compositional together. 5. Adding gesso & Conclusion: in order to erase things, were going to use some Jessa Whoops. Just a little extra lights. And as I showed you the first class, here's whoops. Here's the jet. So from liquid, Tex. And I'm just going to, um, for a little bit in this cup, you won't need much, and I've got a brush. But whenever I use the paintbrush with, particularly with acrylic paints and jet, so is just a very thick acrylic paint. I always wet the brush so that I won't ruin it by having the pain to get up here. Get up into here. This is called the feral, and if the pain gets all stuck in there, it ruins your brush. So after you, Um what your brush. I know this seems counterintuitive, but then you block the water out of it. So then I'm going toe. I think that that really these pieces here are not things that I like at all. And so I'm going to obliterate them with the Jess. Oh, I like, But I haven't put the Jessel on too thickly. And maybe this is one line too many here. I like the kind of gray tones it will give me as I'm doing this and I use those also as I'm creating. So I take that out. Or maybe I don't want to take it out completely. I just want a lightning, and then I can use the great that I gained from there to add another element onto the painting. And I may take it while it's still it and go back into it and drawing it. And of course, you see, you get a different a very different kind of effects when you're drawing into which eso. But it, too, is an interesting effect. Blew off some of the crumbs that have accumulated here. And I think I will add another horizontal element down here just so I can obliterated with with the white Jess. Oh, and make it a light, Great element. Get a lot of charcoal on the page and then they go in with the Jess. Oh, and you won't need much water in your jest. So but occasionally you might need to with the brush a little bit. So try not getting a lot of water in it, because it will make your, um, it will make it so thin it won't cover anything. And that will kind of defeat the purpose for you. If you're looking for it to obliterate part of your image, I like that it let's make extend my image in another shade. So this is how I use the Jess Oh, to obliterate. And then I can't go back in with my charcoal and make more lines like these little guys. My page. That's kind of cool. Sometimes my hand shakes, and sometimes it's just the of the charcoal that has become funky. I don't really like these. I'm gonna take them out now that I've seen them. But then I get this really neat, okay? And so that is our expressive okay, line drying. I hope you found it to be creative and inspiring.