Drawing Practice: Illustrating Florals with Form and Line | Shayna Sell | Skillshare

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Drawing Practice: Illustrating Florals with Form and Line

teacher avatar Shayna Sell, Illustrator and Creator

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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 28m)
    • 1. Intro

    • 2. Back to Basics

    • 3. What You'll Need

    • 4. Form vs Shape

    • 5. Drawing with Form 1

    • 6. Drawing with Form 2

    • 7. Drawing with Lines 1

    • 8. Drawing with Lines 2

    • 9. Working Together

    • 10. Class Project

    • 11. Final Thoughts

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About This Class

Whether you have an established artistic style, or are just starting out, the ability to draw from observation will take your work to the next level. It’s like learning a new language. You have to know the basic words, phrases, and sentence structure before you can write Shakespearean plays.

Start with the basics now and your stylized work will be that much stronger.

This class is focused on drawing flowers, but everything you learn here can be translated into your future drawings, paintings, illustrations, or whatever your medium. 

In this class, you will up your drawing skills by illustrating florals with two different techniques. First we’ll go through drawing flowers using forms and negative space. Second, you’ll learn how to illustrate dimensional flowers focusing on shapes and contour lines.

With the help of these exercises you’ll be able to: 

  • Create your own floral drawings
  • Use simple tricks and techniques to improve your drawing practice
  • Make accurate drawings and illustrations from observation
  • Explore your own natural style

This class is for anyone who wants to improve their drawing abilities or brush up on art techniques you can carry over into work in any medium from pencil sketches to digital painting.

Meet Your Teacher

Teacher Profile Image

Shayna Sell

Illustrator and Creator


As a creator from Michigan with too many interests to count, I aim to spread joy with my work. By day, I work in fundraising marketing and spend most of my free time drawing, painting, and gardening. I'm inspired by vintage travel brochures, mid-century fashion, and people.

When I was growing up and complained about being bored my mom always had a solution: read a book or draw something (but secretly I hoped she would let me watch TV). I've been drawing ever since, toting my notepad and pencils around my brothers' sporting events and long car rides.

I graduated with a B.A. in Art & Design from the University of Michigan in 2013. Afterward, I pursued my passion for higher education in my career, but over the last couple years have started to return to my first love - art.See full profile

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1. Intro: Hi there. My name is Gena Cell, and I'm a creator, illustrator, drawer painter, jack of all trades, living just outside Detroit, Michigan. People in florals are two of my favorite subjects to draw, So today this class is going to focus on drawing florals to improve your overall drying practice. In this place, we're gonna do two different exercises to improve your drawing. First, we're going to draw flowers using form on Lee, and second, we're going to create a drawing using only Contour lines. By focusing on the differences between form versus shape and line, you'll build a foundation for your drying practice going forward, and that's really important for any artist. It's kind of like learning a new language. You need to know the basic mounds and verbs before you can start writing beautiful poetry. This class is great for artists of all levels, so if you're just starting out, this will give you some new tips and techniques to help your drying practice. Or, if you are more experience, it'll just help you brush up on different ways of looking at objects and putting them onto paper, and at the end of the class you'll have to new floral drawings. So let's get started 2. Back to Basics: So, as I mentioned in the class intro, learning how to draw or paint or almost any art form is a lot like learning a language. You need to have a basic foundation before you can really start creating new art or artists in your style. And the more you practice, the more you'll be able to develop and refine whatever your style might be. So I thought it might be helpful to take a look at some very famous artists. Early work. First example I have here is a portrait of this artist's mother. The second is just a very basic still life, and the third is just a study of an old milk jug. So even though all three of these are from completely different artists who styles evolve and change much over time, they all kind of started from the same place. Before you congratulate off into specific styles and create really original artwork, you're still gonna need to have some foundational skills. So let's take a look at who these artists are. So this 1st 1 is actually a portrait of Picasso's mother, and this is one of his earlier works. Next we have Salvador Dali and this is just a simple still life. No, Dolly is known for his surrealist work most of all, but this is just a very simple, basic still life, a nun. Last we hear of this milk jug by Vincent Van Gogh, and this is really more of a sketch than anything. And the reason I wanted to cover this is to show you how, even though these artists, under being very different in their later work, they all start out by mastering basics like form and line. And this doesn't mean that any of your practice exercises need to look as finished or complete as thes. However, it's important to understand that a lot of work goes into creating works of art like this. So don't expect to put pen to paper for the first time and draw exactly what you see in your head or in front of you. But the exercises will go over. Today will help get you a little bit closer. So here's an example of one of Picasso's most famous pieces, and I chose this one in particular because you can still recognize women in the photo as human figures, even though they're done in the Cuba style, they're still recognizable. There's still a sense of realism that comes with years of figure drawing and painting. So this is one of Dali's most famous pieces. The persistence of memory. Even though this is very surrealist painting, you can still see that he has some expertise. The clacks look like they're actually melting. You know, this is in a pre Photoshopped world. The only way that he can get this painting onto the canvas and this way is by understanding what objects look like in space and knowing how to paint that accurately. So not only can he paint on extremely realistic clack, he can actually painted, bending and folding and melting. And then, finally, this is a piece spy Vincent Van Gogh. This is a little more straightforward than the other two examples, but this is still an Impressionist painting and a very clear understanding of form, value, shape in line and the reason I wanted to emphasize all of this. It's really easy to look around at what other artists are doing and want to replicate their style, because maybe it really resonates with you, but it's also important to develop a style of your own on. Before you can do that, you do need to have some foundational basics that you can practice, and then the more you practice, you'll start to see your own style come through and then be able. Teoh, identify what elements define your style. 3. What You'll Need: so for this class will be making two different versions of a floral drawing, one based on form and the other based on contour lines. First, we need some flowers to draw. Since this is an exercise and drawing, I highly recommend using actual flowers. If that's not an option, you can always use reference photos online, but physical flowers will challenge you more in a good way. So that's what I would recommend. You'll also need artists, pens or markers of varying thickness. Eso I have some micron archival ink pens here and 05 and No. Three. You also need a lightweight pencil so we can sketch out our basic shapes. And for the form drying, I'm gonna be using content crams. I'm really only going to be using one. I'm going to use the black con, take ran and use that as you would charcoal for the form drawing. You could use something other than charcoal, but I would recommend using the same color palette. So if you are going to use some kind of paint, I would only use one color so that you can just change the value instead of having to make decisions about colors and you'll see what I mean once a get started with the drawing. But you could also use liquid ink with water and a brush, and use that to create different values. So we just want to keep this simple cause we're really focusing more and technique here and the forms rather than color. 4. Form vs Shape: So before I just start in on our form drawing, let's just talk about what I mean when I'm using the word form versus shape or contour lines. So basically, when we're talking about a shape we're talking about something like a square or a circle. Any of those basics shapes that you learn when you're a kid. So shapes are really more of the outline off a two D object. So you know, when your kid learning your shapes, we have our squares or circles anything like that. The difference comes in when we're talking about form, so form actually refers to the three D objects. So today, when I'm talking about drawing with form rather than the shape for first exercise, I'm really talking about the substance of the object itself. So when we're drawing based off of form, I'm not going to be drawing lines off a flower like this. I'm gonna be drying the flower petals. They send their form, so it's a little more sketchy. I still have edges, but I'm not actually drawing them. The edges come from me drying the form and the reason that we wanna kind of isolate these two different things today is so that we can practice how we look at objects in the real world and how we interpret what we see and put that onto the page. So, for instance, we might know, and I'm gonna draw this a little better, so we know that this could be what a leaf looks like or what it should look like. But depending on how you're looking at it, it may look something like this if we're seeing it from the side or for looking at it right at the tip of the pedal. And I'll do the same example belief that I'm gonna draw the form of so might look something like this before looking at it straight on from the tip. So I'm gonna actually look at a flower in front of me right here, and I'm going to try to draw it without drawing any lines, just looking at the form still kind of gruesome lines. So it takes some getting used to to try to prevent yourself from drying what you might be used, Teoh. And the reason we're spending time on this and why this is something that's worth doing is that it will make you a better artist in the long run. Okay, so here, this is actually behind these pedals, these pedals here. But I'm just using the white space. So instead of drying an outline here of the pedal that's behind. I'm just filling in and leaving some gaps to show that this is, ah, separate pedal and that it's behind. And you could easily do this with paint like I mentioned before. Or I think, you know, ink and brush would work really nicely for these exercises here because a brush as opposed to a pencil will give you just a wider area to make your marks with. That's what I like about using this Contact Grand is that I can hold it like this and make thick lines. So I really don't have a choice but to draw the value unless I consciously make the effort to start drawing with the point senator. And this is a really rough sketch just trying to get my point across here of not drying the lines, just drying what I see. So I'm just going to show you how we're gonna use forms in our actual composition with a quick little sketch So I'm just going to start with the center of the Gerber Daisy. That's what I have here. Okay, you'll see that I'm focusing on drying forms instead of actual lines here. Lines here, some focusing on drying forms instead of lines. Right now, no Miskin atrocities tiny little petals around the flower. I need to go a little bit lighter cause I don't want them to be too dark to start out with . I mentioned before that we're focusing when we're drawing these forms. I'm really drying what I see and not what I think the pedals should look like. So some of these tiny ones over here really just look like little edges of the pedals there really tiny. And that's because of the way that the flower is facing me right now, Kind of as they get to this point, they're sticking up a little bit more. Something's going to keep going around and building up my flower based on what I see. So these are some of the actual larger pedals, and then you'll see that I'm leaving a lot of white space. So the white spaces extra kind of working like our lines to separate the different layers of petals, and I'm actually just going to keep moving around the page. That's so we don't focus on one area for too long. Sometimes that's how your drawings can look a little bit funny. You want to keep moving around, keep changing what you're looking at, and that will just make you have a better picture. Overall, it'll be more accurate to what you're actually seen than when you think you see which could be two very different things. Okay, so basically, you're just gonna continue around with all these pedals trying to stay somewhat light with the pressure that you're putting on. If you are using ink you want to be using, you know, very light water Down Inc. With your brush or using paint you want to use here lightest value of whatever color you're using. We're really just trying to get down the basics of the pedals without drawing lines, but with focusing on the form. And then once you have all your pedals laid down, you're gonna go ahead and start adding those values to add dimension. So it kind of looks like I'm drawing lines here, but I'm really just trying to add some dimension by adding those soft little folds in the pedals. I mean, extra dark, kind of pedal here to create this edge. So even though it and draw a line there still on edge between this background pedal and this foreground pebble. So I would recommend just doing a little sketch like this before getting started on your larger composition. Here's an example of one that I did so basically laid down all my forms first. So kind of like this, except I want even a little bit lighter with this one, and I just started adding to mention by shading in some darker areas. I also tried to keep some white space, so you'll see that there's actually a lot of white space around all these pedals here, so that kind of creates an illusion that there are lines, even though I didn't really draw any lines. So I would recommend maybe picking one flower and drying it in this way before you start on your actual composition. 5. Drawing with Form 1: So now let's get started on our actual floral illustration. So first I'm gonna lightly map out the flower arrangement. So right away I'm just getting some kind of landmarks. So I know where the edges of my flowers are. If I'm looking at the flower arrangement, the base is probably about 1/3 the size of the arrangement. So let's say that's the top of the base. This is the bottom. Gonna add Thisun the actual shape. But I'm really just lightly sketching this out. I think I made that a little bit too high. Way go. And really, I've got three daisies right here. So I hope you can see this really lightly sketching the shape that the three of those make altogether. Okay. And then this area here, there's a twig six out from the overall arrangements. I'm just kind during that basic shape, this seems actually a little too big. Maybe make that smaller. You'll see that I'm just really loosely holding my pencil. This really is not about getting actual lines and shapes in here. Okay? And there's this other flowers air just peppered throughout. So not being really precise here. Then over here we've got some eucalyptus lease. That's kind of the basic shape they're making. Okay, and that's all I'm really gonna do. So that's not a lot, but it is going to give us kind of a roadmap for when I actually start drawing. All right, so I'm just gonna go ahead and get started on, and I'm not gonna focus on any one area for too long. I just want to get our basic forms planted dumb. So, like our sketch. I'm gonna start with the little center of the first Daisy. I'm gonna make some very basic pedals. And I'm not going to as much detail here as I did in my little sample sketch because there's so much going on here. I really want to get kind of this fool flower arrangement down on the page for this class. So I'm not gonna go into a lot of detail in every single area. It's gonna be more about focusing on form and getting suggestions of the details instead of trying to get precise exact details. But if you want to make it very precise and you know every tiny little pedal, feel free to go ahead and make it that way for the cliffs. I'm just going to keep it simple, because we could be here all day if I decide to do every single detail and I'm trying to get the basic overall direction of this daisy because it's facing me mostly head on. But the bottom part is kind of poking a little bit towards me. So I'm trying to get so that dimension some of these pedals might be a little more round and the edge of the pedals, then straight on like some of these alarms. Okay, so I'm just going to stop there. I could keep going, but like I said before, I wanna keep moving around the page. So I'm gonna establish the daisy that's up here, and this is where it mapped out the edge of it. Bees. I'm gonna actually gonna draw the summer here. This one's smaller than the other one and nor moving a little bit quickly. This because I'm trying to force myself to make some quick little decisions. That might not be something that you think about when you're drying, but really drawing or any kind of art is just a bunch of little decisions that you're making in the moment. Okay, that's basic enough for now. We'll return to it later. This one's being kind of squished the center of this daisy. And the reason I started with this first large daisy in the front is because there one is the closest to me. So by starting their I can add these other daisies that go behind it and create layers. I think that's a good enough start for now for the daisies and let's move on. I have some kind of random flowers throughout, so it doesn't really matter too much where I put them. But these are gonna be a little bit of a different challenge, because these have a lot more folds and pedals that wrap around each other, kind of like a rose. So let's see how we could do this. Some kind of using the flap edge of my cram to create these pedals, meet some edges. So here, amusing white space to kind of show, some of them overlapping again. It's just in a different way than the daisies. The daisies air Very straightforward. You can see all the pedals on one flat plane for the most part, where these are much more complicated, the way they intersect and overlap. It was tempted to draw a line there, but I'm really trying to avoid that. So right now I'm really kind of drawing what's around it and not the flower itself. This is the flower here. This is just trying to give some edge to it. Something look exactly like a flower. But the more I do this in, the more detail we add, and the more value you'll really see, the flowers start to take shape. So I'm just gonna move on, though, because, like I said before, I just want to keep it moving. This is a really tight, narrow space in the center of this flower, so they're kind of more line like, and that's OK, so there's another a little lower form. Their draw this the stem where it opens up into the flower and this is a line. But I'm still using my flat of storms, trying to not get a really sharp line there, and we've got some got a little one peeking out over here, some sort of switching back and forth between drawing the actual pedals and the edges around the pedals. so drawing the negative space. So this is negative spacer here, right here. And really, this little white spot is what's the actual pedal? So this isn't gonna be as finely detailed as our contour dryness. That's where you'll see a lot of the very minute little details. This I'm just focused on really creating images with our value variations and our forms. So you'll see, actually started to draw some lines right here, and that was in the state. But I'm just gonna keep down going, Okay, so I think of small lot time in this area. Let's move back over here. I don't want to forget about this side his these twigs. So even though these airlines shapes, I'm just kind of using the edge of this to kind of help myself not just draw straight up lines. I'm really using a gesture to create this. So okay, and there's another twigged that comes out this way. It's got a few little branches. It's good for now. I'll return to those, and then there are some flowers kind of poking behind here, So let's try to get those on the page. This is getting a little indistinct here these air kind of blending into each other, even though this is a different flower and this is the daisy in front, That's okay, but it's just something I will have to keep in mind when I come back to that spot later. That a leaf back here. That's kind of Comey now, some using this whole lodge again to create that leaf, another one behind it. It's a lot of this is almost like it's a suggestion of the object to then actually drawing it. We're kind of alluding to it. Another lower of here can, and I've kind of ignore some of this down here. So this is where I have some eucalyptus leaves coming out. 6. Drawing with Form 2: and I'm gonna go ahead and I'll add some little connecting branches later. I love the shape of these leaves, and it's just have a different way. I don't normally draw this way, so it's nice to kind of get out of my comfort zone, get some practice in, Be careful, getting a little messy with this, But that's all right. This is kind of our basic overall floral arrangement. We have most of it down, so I'm just gonna keep going around and adding more more levels of detail. All right, So as I'm going around and I'm adding more detail to this, I'm also going to be adding some more dimension with shading and with how I use my negative and dark spaces. So, one example of that, um, let's talk about, like, this edge here. Yes, draw stem real quick. So this is the edge of a flower, And I really want to make that known so I could do something like this, and I'm just gonna give me the space, some background. And then now we can see that more to find something to do things like this all throughout, and it's now isn't perfect. But this is practice, and sometimes Nestle accidents will happen as you're doing this. But this doesn't mean I have to fill in my entire background or surrounding area with black either. I could just use this as I see fit to create some edges and add some interest. So it might be a little How do you wrap your head around right now? Said a little lighter, A huge but necessarily trying to establish that black is gonna be my background color for the entire piece. I'm just using it as another tool that I have to add some dimension to this. So this looks like maybe it's part of the wall or something else in the background. But it's definitely not part of that flower. Have been disregarding the base, so I might as well get that down. I started drawing lines again. It's very easy to Dio because we're so used to drawing that way. Early start I am. This is glass, So I I kind of wanted to build a glass, so I'm just gonna and let's return to our daisies for a little bit. So just create in some really dark spaces, too handsome dimension and paying attention to where the light is hitting these pedals. Which ones are darker. And you also want to avoid ending up with everything the exact same color, cause that's when it starts to get boring and kind of repetitive. I'm also trying to keep some of their white space alive, and this is where you really to start learning kind of on your own. You'll learn from your little mistakes. So maybe you were a little too heavy handed with one spot like here are kind of connected those pedals I didn't really mean to. So maybe I dark in this a little bit more so there's more contrasts and maybe it'll kind of distract you from where I must up. But there are all these little things that will come up the more you do this and the more you draw like this, So it's just a really good way to kind of stay fresh and really just up here drawing. And then you can make decisions as you go like, what do you want to include? Do we want to include a stem here or not? How important is that? All these little things that you're gonna figure out as you go along. Oh, man. So this got a little bit smeary that somebody got to be careful about when you're working with this kind of mediums are just remove fill in here. It's obviously that's not ideal, but it is a good reminder to be careful when you're working. I might actually roll up my sleeves. Think they're a little bit heavy, but not a huge deal. We can come back to that later. Okay, That's yes, really dark edge there. So this I might keep a little lighter how, like how those leaves look. But maybe I'm gonna dark in the space behind the base to kind of I had a line there. So it's not that many strokes. I've already added more of an edge behind this face. So a lot of this kind of just making it up as I go along and seeing how I can make this look more like my composition. So a lot of it is his experimentation. I definitely chose a medium that is a little tricky to work with because things like this happens. Smearing little pieces of charcoal gets scattered around, so sometimes that does kind of ruin your pure white spaces. So that's just something to keep in mind when you do your own project. If that's going to bother you or not that I think it's always nice to mixed up what you're working with. Two to mix up your medium. Maybe challenge yourself was something you haven't done before getting really dark spots, and it's just gonna help define our flowers a little bit more. You don't want to be afraid to go to dark. Some people aren't afraid of it all, and that s a ruin, your drawing. But that's something that I always would struggle with is, you know, going way too light. I once had a professor who told me that every drying should have an extreme black point and a white point, and that's just to make sure that your eye is drawn somewhere because your eyes going to be drawn to those areas of really high contrast. So when you first look at this, maybe it's this center of the daisy here. Or maybe it's this right here is white and black. Either way, we wanna make sure those points of interest are in here and then of course, there's always different styles where that really doesn't make sense to have an extreme, blacker, extreme white. But it is something to keep in mind, you know? Are you missing out on any interesting areas? If you have a really light drawing where everything's kind of the same tone, and then maybe you have one black point and it makes your drying that much stronger because it's just one spot in a very light peace, and I've been neglecting this area, so I'm gonna go back to it. It's always good to challenge yourself, get out of your comfort zone a little bit. It was gonna, well, that up a little bit so you can see more of what's going on here. I always recommend to maybe taking a zoomed out Look at what you're doing. Sometimes you'll see something really obvious. That just looks really funny that you completely missed before. So think I'm not loving right now. Is this kinda hard line from the base? The flowers so soon I could do about that. You can add some more stems, and actually this is supposed to be a glass face, so you'd probably see them well, you do see them kind of coming through. I'm just gonna continuing some of the ones that I've drawn already. This is where the water starts. Movies. You suggest that there, I'm gonna make this look a little cloudy. Blunden. I have a cost to do this, but something is kind of fun to do with your hands, especially since this is more of exercise. I'm not too worried, and I'm kind of adding, actually, a little bit of contrasts is now my background looks a little blurry, but my main drawing has more definition to it. So kind of like that action, you'll add some over here. So this looks less messy and maybe looks a little bit more intentional. Did you take care of a black background going on? But that's all right. All right. So I think this is where I'm gonna go ahead and stop. We could keep pushing further to make this look even more realistic, but I kind of like this. Look, it's a little loose and still kind of organic, but you can see how we were able to create some dimension just by using forms and avoid using too many lines unless they were absolutely necessary 7. Drawing with Lines 1: all right, so now it's time to talk about our contour line drawing. So if you remember from earlier, I kind of went over the difference between drying with form versus drying with shape and lines. Eso we looked at our no circle. Examples are square, and then I kind of talked about the difference between drying, what you think you see and what's actually there. So we mentioned how a leaf might look like this. It's so that looks like what a typical leaf should look like in her mind. But that's going to change a penny. Nine. How we're looking at the leaf. So if it's pointing at me, I might only be able to see this kind of triangle. So that's the tip of the leave here. So this point here is what's facing. I'll start now and then. This edge is the part of the leaf that's kind of going back into the distance. Someone will get another examples with a flower. So let's say we have a rose. A lot of times you might think it looks something like this when we're looking straight on , and this is just a relieve quick, loose sketch. Okay, so something like that. That's if we're staring at it right where all the pedals are coming together and forming that typical rose shape from the side. It's probably gonna look something more like this, and these aren't perfect. But this is just to show you how your perspective really does change how you view an object . And this is a good point for me to emphasize why it is so helpful to have something right in front of you that you can play around with. Look at it from different angles and it's just gonna make you have a better understanding of whatever that object is that you're drawing. So in this case, you know, we're gonna be working on flowers today. And if that's something that you enjoy drawing, the more you draw them from different angles and understand what they look like from different perspectives will help so much, even when you're kind of just making things up like I did here. And being able to draw something as it appears is what will elevate your drawing to the next level. All right, so let's go ahead. You get started with our actual can't sewer line drying of our flowers Sleep before I'm sketching out basic important lines and parameters slick before I'm kind of Malfi Now what my drives didn't look like and I'm drying really lightly. So it might be kind of hard to see on the video, but just getting kind of the extreme point. So this there's a branch that comes out really far here. There's one that paps out of the vase here, and then we have our kind of you go of dissent, drops down there and then here's kind of the main edge of our bouquet and then let's to the basic shape of our daisies. So these 1st 2 are pretty circular cause they're just facing me straight on. But this one's kind of bent, so I'm gonna have this kind of like ob along shape here. Yes, keeping these pretty loose. But I am drawing in a little bit more than I did for the drawing that we did with form only , and that's because we are gonna be drawing a lot of lines. It's going to be much more detailed looking. It's going to be, ah, lot less free form like before. I'm trying to keep it moving around the page. Not focusing. I'm one any one area in particular. Okay, so I think we're off to a good start right now. We have our basic shape mapped out. Okay, so I'm just starting with the center here. I'm just gonna start drawing some of the tiny pedals that go great around the center. So they just look like these little I kind of see shapes and you'll notice I won't be moving around the page quite so much as I did in the last exercise withdrawing forms. And that's because we're gonna have to kind of establish some of the hard edges before we start plotting other things down. So some of the pedals air getting bigger. But on this side of the flower, they're a little bit for shortened, So they're still not necessarily the full petal shapes. Where over here, they start to get longer a little bit earlier. Even that difference alone is creating some kind of movement. You can kind of tell that these air pointing straight off and kind of out in the space where these air pointing pretty much straight out at me. And these air kind of putting out in back a little bit. I'm just trying exactly what I see. So like this pedal, I can really only see the side of it. So it's a little bit funny looking on its own. But as I keep going and keep drawing, it'll all make sense. It'll come together eventually. I'm also paying attention to layers here, so the different layers of the pedals. So we want to draw the ones that are closest to us first and then draw the ones that fall behind those first early layers. And now I am starting to move around the flower more because I want to make sure that I mean not making just a perfect circle because it's not gonna be a perfect circle, and I don't want to look like one. So here I start to draw this before I drew what was in front of it. That's OK. You can just come to stop where you're drawing and draw the one in front when you make little mistakes like that and they'll happen so you can see I'm already getting pretty decent amount of dimension, and I'm just using lines. There's no shading, no textures are not drawing the little fold lines on the pedals, but we're still getting quite a bit of dimension here, and it's looking somewhat like a realistic flower and all that's simply by drawing the pedals just as I see them. I don't want to oversimplify it because it does sound very obvious when I say that just are what you see, but it's something that you really have to work out and train your eye to dio. The more you do it, the better you'll be a drawing and drawing realistically but also help when you are working in your own styles. Well, because you can draw things better for memory, really just building your foundation of drying and getting those skills down just to draw what you see and nothing else. So since we have this down, we can move on to other parts of the composition. I really want to get this established before we move on, because we want to make sure that we're sizing things appropriately in relation to each other. So now that I have this flower here, I can kind of figure out what the size of some of these other side flowers will be for these leaves over here in relation to this flower. So I'm actually gonna move over here, do some leaves. So some look a little flattened Psalm are just perfectly on their side. Look like regular old leaves. There's also some little kind of seedpods floating around. So some of those I may have to drive first because there in front, some of the leaves. I'm not really worrying about where they connect just yet. I'm just trying to get the little seeds down, and then I'll kind of figure out the lines and how those air connecting to the main part of the branch. I'm being a little bit less precise with these just cause I want to get them down on the page. I don't think they need as much attention is our leaves and the flowers and those other kind of more complex areas. Okay, so now I can draw the leaf that comes behind here. We've got one comes down there. There's one really close to the pot that kind of comes this. So even though these are all from the same plant and should have the same basic shape, you can see that they look a lot different as we're drawing them, you know, as they appear in space. All right, so I think I've had enough detail over here for now. I like how this is turning out. So let's move back over here somewhere. Maybe establish something over here. So I have a flower. This is much more Dalek it. Sorry. No, I'm just drying all those little edge lines of all the folds of thes pedals. For this, I really I like to start from the inside out. It's like here just made a little mistake. I kind of I know that this is usually little bit longer, then the flower itself. But this doesn't really look like it does in reality, because what I'm looking at it in person, this actually is much more foreshortened. So the flour is kind of to the right, but it's also coming at me a little bit, so I'm just going to move this line off. It looks a little bit more realistic to me. Then we'll just kind of keep drying around it. I'm just going to ignore that for now. That's one of the things that happens when we are working in a pan or a marker like this. So that's OK. We'll just keep moving on. I'm just gonna draw from the second line that I drew the one that I think is a little more accurate. Okay. And there's a flower kind of behind it that I can draw. So this isn't easy. There are gonna be some mistakes that you make here and there. But like anything else, the more you practice, the better you'll get and the quicker you'll get it kind of plotting these things down? No, just trying the stem for buying there. So it looks kind of messy right now. But later, when we start working on our lines and making some of them thicker and leaving some of them thinner will be able to add more dimension here and kind of differentiate between these two flowers and then I'm gonna move back over here. Let's do this branch. I'm still paying attention to my layers. I can move on to drying all the little buds on them, so I'm just gonna continue to move around the page and finish up the basic outline of all of the flowers in my drawing 8. Drawing with Lines 2: So I made a point. Now where I'm going to start playing with my line waits to add some dimension. So right now, everything is pretty much the same with every line looks about the same. And that's why I've been using the same pen at the same size for the entire composition. So first, I'm actually gonna start with what should be our thickest lines. I'm just adding this detail. I kind of overlooked before because I was trying to get as much on the page is possible. So really quickly. I'm just gonna go ahead and and these little circles, I just want to make sure that we have dimension. This is probably the closest thing I'm getting to adding an actual texture, these early lines. But I really don't want to have those open white spaces. So there we go. OK, so I made a point where I'm gonna start Annie more variation to our lines by making some of them thicker and leaving some of them very thin. Before we do that, I am gonna go ahead and just erase all of my pencil marks first. So the idea here is that we're going to thicken any lines for the areas that are closest to us. So once again, this is where it's really helpful to have an actual object in front of you. Because I can actually tell the distance between me and the object so I can see what is actually closest to me, even those there might be overlapping layers. And what we're gonna do is just thicken lines where the object is closer to us and leave further away. Objects with very light lines are original lines. So the closest part in this entire arrangement is probably this one paddle right here. When I'm looking at it, that's what's closest to me. So I make sure gonna start there, and that's going to be our darkest part of the entire image. So I'm just using a sicker marker here than the one I started with. And I'm just gonna draw over my initial line. I'm actually burying the thickness to So this part is a little bit further in this tip is what's closest to me. And if you're using pencil, you can do the same thing just by thickening in your lines. But it's probably take longer to thicken them because you know, you're unless you're using a dull pencil traveling and take a little bit too thick in those lines up. Let's just a starting point and I'm just gonna go around. Really? This entire flower is what's closest to me. So I'm gonna go around and thick in these lines. And what this is gonna do is draw more attention to the parts that are closer to you so that when someone looks at this, it's gonna have a lot more dimension. So we'll be able to tell kind of the layers of the image. So here will be able to see that this flower is clearly in front and this one is behind, and that will make more sense. Is things take shape as I move around the image. So I'm just going to keep working Kind of This whole side is a little bit closer to me because jutting out more from the flower said, pending on how big your images and how many flowers you have in here. This can take quite a while. But I think it's a little bit therapeutic, actually. So I don't mind it. That marker starting around of being something I have to switch back to my smaller one, which is an ideal. But that's all right. It just means I'm gonna have toe thicken my lines more with my emotions and something else you want to pay attention to is are these little intersections where layers meat. So this pedal is in front of the songs, So I'm gonna just sick in a little bit more right there. So I'm going to keep moving around the page and working on these thick and thin lines. So something you want to pay attention to are these little intersections and what I mean by that is an area where there's a shape in front in the shape behind us, and the intersection is where those lines meet here. So you just want to make sure that it's a little bit sicker where they're meeting, and that will help to create more dimension. So this lines already pretty six. I'm not too worried about that. And keep in mind that it's always easier to add lines than it is to take away. We can't really just erase lines of make a mistake. So for like, areas like this I make might come back and make this darker later. But for now, I'm just going to give it a little bit of a thicker line and come back to it. It's like this line here No, but somewhat sick. But I'm going to keep the end of it over here a little bit, sinner, because that's further away from me. So you're gonna be thinking about how this exists in space and also in relation to you kind of messed up there. So I'm just gonna sick and that up. So here's one of those intersections, so I'm just making it a little bit sicker there. So this side of that pedal is way thicker than this side, and that's gonna help create more dimension. So, really, that's our main goal here. We want to make this two D image look a lot more three dimensional without using any value or texture. No shading whatsoever. Just using lines and the weight of the lines. Here's another one of those intersections, so I'm just sickening that up. And this is partly why working with flowers is so great for an exercise like this, cause they're just so many little layers. So you're gonna have to meet decisions. But for each and every one of these petals, thes leaves these branches, you're gonna have to think about every little element, so it's just some really good practice and making some quick decisions. I think that's something that people kind of forget about. I think there's a belief that some people just can't draw and some people can't well, most people who are good at drawing. It's because they practice a lot, even if you have some initial talent. You know, I have always been pretty good at drawing, even when I was a kid. But since I knew I was good at drawing, I want to do it more and more compliments I got, the more I kept drawing. And the more you draw, the better you get at making these kinds of decisions and observations. Some like for this puddle. It's actually closest to me, kind of in the middle here, so I'm actually going to make that the thickest part of the pedal. It's going to be sick overall because it is in front, but we just want to make sure that we're varying weight, even within the same line. If you don't add that variation. It's just gonna end up being a very kind of monotone look, And then you're just gonna have basically very simple petal shapes sticking out rather than a more complex peddle existing in space so that this puddle is really far back in the flower. But it's still much closer to me than any of these branches behind here are. So even when I move on, I'm working on separate flowers and stems. I'm just gonna have to keep that in mind that really this is gonna be kind of the focal point of our whole image because that's what's closest to me. I'm still kind of moving around, not focusing on one small area. I mean, that's just to keep things kind of even. And when I say even I don't mean, um, looking the same, I just mean paying equal attention to all parts of the flower. So hopefully you can see a little bit of that dimension that we're creating as we go along here. - This is one of those things that you just plan some music and focus on your drawing. We already have the basic lines established, so it's a little more kind of once a mindless, but you don't have to be quite as focused in. So I'm just going to continue working with the line waits throughout the entire picture. So I'm just gonna stop right there. I think this I think this has a nice level of dimension. It's looking more three d than to be overall pretty happy with it. I could always go a lot farther with this, and I encourage you to if that's the look you want. Um, but you could really spend hours and hours getting this perfect and really working on getting those layers. 9. Working Together: So I hope that these two exercises allowed you to challenge yourself a little bit and try something new by isolating form and contour lines. But of course, many artists combine variations of form line texture in new pieces, so I just have a few examples of what those look like when they're put together. So this 1st 1 uses lines, too. Not only create shapes will also create texture and form is used to help create a three dimensional look in the shading on the jacket and the boots on the floor. This next example is using mostly formed to create these peonies so you can see how variations in the color are helping to create that three dimensional look of the pne and the layers of flour. But I'm also using some lines here on the leaves to create some direction and movement. And finally, this little gua sh pumpkin painting his two distinct layers. The 1st 1 was just forms of these pumpkins and then laid over top our contour lines as well some texture lying to create grooves and add dimension to the pumpkins. So at this point, I hope you feel confident to combine these two techniques and create some interesting works of art on your own 10. Class Project: for your class project. We're going to use what we learned in class today to create two different versions of the same drawing. You'll create one using Onley form and value. And once again, when I refer to value, that would be shading paying attention to both negative space and the space you're actually drawing. And the second will be a drying using on ley line and shape. So you'll use calm to her lines to create your shapes and then use varying line waits throughout the composition to create dimension and interest. 11. Final Thoughts: Thank you so much for taking this class with me today. I hope you got a lot of good information out of it, and we'll be able to carry these tips into your drawing practice whether you're drying florals or anything else. Don't forget to share a picture of your class projects and please feel free to post on instagram and tag me at Shane A Cell art. You can also follow me there for pictures of my artwork and updates on upcoming skill share classes. Thank you.