Dynamic Mark Making / Drawing with Expression & Creativity | Brent Eviston | Skillshare

Dynamic Mark Making / Drawing with Expression & Creativity

Brent Eviston, Master Artist & Instructor

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7 Lessons (1h 31m)
    • 1. Dynamic Mark Making Trailer

    • 2. Welcome to Dynamic Mark Making

    • 3. The Psychology of Line

    • 4. The Emotional Line

    • 5. Bringing Form to Life

    • 6. The Tactile Line

    • 7. Atmospherics

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About This Class

Drawing is not a talent. It’s a skill anyone can learn. Designed for aspiring painters, graphic designers, illustrators and artists of all types, The Art & Science of Drawing series will teach you the foundation of art and design of all kinds: drawing.

Dynamic Mark Making is the second course in the series and will teach you how to draw one day at a time.

How you draw says just as much about you as what you draw. In this course you’ll learn to bring your drawings to life with dynamic and engaging mark making. You’ll learn to truly express yourself through drawing from the most delicate of marks to lines that jump off the page with passionate intensity.

In this course you’ll learn:

  • How to use the pencil to create a wide range of expressive and engaging lines marks.
  • How to infuse your line work with emotion that truly connects with a viewer.
  • How to draw objects that communicate tactile sensations to viewers.
  • How to make objects appear to recede in space using atmospheric perspective.

Here’s how it works: Each day you’ll watch one video lesson that will introduce an essential drawing skill, and then do the recommended practice. 

This course is overflowing with powerful insights into the drawing process and offers some of the clearest, most accessible drawing instruction available.  Many of the tools and techniques you'll learn here are rarely taught outside of private art academies. 

DYNAMIC MARK MAKING is the second course in The Art & Science of Drawing series designed to take students from the absolute basics to advanced drawing techniques like perspective drawing and shading. If you're a beginner, we recommend going through the entire series in the following order:

The Art & Science of Drawing:

The Art & Science of Figure Drawing:

If you've got some drawing experience, feel free to mix and match The Art & Science of Drawing courses to suit your personal needs as an artist!


1. Dynamic Mark Making Trailer: a drawing is made up of hundreds, if not thousands, of individual marks and lines. Each individual line is an opportunity to communicate something to the viewer and just like spoken language. How you're saying something? Is Justus important as what you're saying? In master drawings? We find that even out of context, the individual lines and marks stand on their own as beautiful forms of expression. It's only when we pulled back that the lines begin to work together to create the illusion of recognizable. There's a moment when these abstract marks coalesce into hair, fabric and skin. By varying the quality of our lines, we can express a wide range of emotions and ideas. You see, every line has a minimum of two functions. First is to communicate some kind of recognized before the second is to communicate an idea or an emotion. Every line is an opportunity to express an opinion, belief, philosophy or feeling about your subject. So let's take a closer look at what students are gonna learn in dynamic mark making on the first day will explore the infinite, expressive range of lines and marks the pencil can make on. Day two will take a look at how lines and marks can express and communicate specific emotions to a viewer. On Day three, you'll learn how to actually use thes lines and marks in your drawings in order to express something that goes beyond what you're drawing. Subject looks like. On Day four, you'll learn how to do drawings to communicate tactile sensations to a viewer, making hard objects look hard and soft. Objects look soft. And finally, on Day five, you'll learn how to use atmospheric perspective to communicate deep space in your drawings . 2. Welcome to Dynamic Mark Making: welcome to the dynamic mark making course in the art and science of drawing Siri's I'm your Instructor, Brende Evanston. There are a few things I'd like to share with you before you start the first lesson. The first thing is that I absolutely love working with students. Teaching drawing is a joy and a privilege that I take very seriously before creating the art and science of drawing Siri's. I taught drawing for 20 years in studios, schools, museums and universities. And while working with students, I would constantly ask myself, What are the teaching tools and techniques that really connect with students? What tools and techniques showed the most improvement in their drawing skills? And how can I teach these techniques in a way that really speeds up their skill development ? This course is theano, sir, to those questions. The courses in the art and science of drawing Siri's contains some of the most powerful teaching tools and techniques that are proven to teach students how to draw. So here's how the course works. Each day you're going to watch one video lesson and then be given a project to Dio. Once you've completed that days project, you're ready to begin the next video lesson Now This course was designed so that you can watch one video lesson each day and do one project each day. But you're welcome to adapt the structure of the course to fit your schedule. If you can only get toe one video lesson in project a week, that's fine. Feel free to make this course work for you. Now. This is a project based course, which means that every lesson is going to come with a specific project that's designed for you to get the most out of the skills you've just learned. The practice that these projects provide is absolutely essential to your learning how to draw. If you're not practicing, if you're not doing these projects, you will not improve. Having an intellectual understanding of these ideas is great, but practice is required to really get good at drawing. Now. One of my great joys is a teacher is to see students evolve and grow over time, so I encourage you to share your work. You can share it with family and friends. You can share it on social media and of course, you can share it right here on skill share. And when you share your work on social media, I encourage you to include the hashtag evolve your art. Building a community when you're learning to draw is a great way to be inspired to practice in good feedback on your work. Now this course is one of seven in the art and science of drawing Siri's. Each course in the Siri's focuses on a different, essential drawing skill. Now, if you're a beginning student, I highly recommend going through the Siris in order. But if you got some experience drawing, feel free to mix and match the courses to suit your own needs and interests. Now, while you're taking the course, I recommend watching it on a larger screen. You're welcome to take the course on your phone if that's what you have available, but by watching it on a larger screen, you'll have a richer experience. You'll be able to Seymour detail in the drawings if you like any other information on other courses in the art and science of drawing, Siri's drawing resource is or a detailed description of what kind of materials to use. I encourage you to visit the website, evolve your art dot com. It's a great place to go for further drawing. Resource is, well, thank you so much for joining me. It's an honor and a privilege to have you as a student, so let's get started with our first lesson. 3. The Psychology of Line: looking at a drawing up close is like looking at a piece of Abstract Expressionist art. A drawing is made up of hundreds, if not thousands, of individual marks and lines. When we're up this close to the surface of the drawing, it's difficult to tell what subjects and forms thes marks and lines will describe here. The mark making takes on a life of its own, telling a story that goes far beyond representation. Each individual line is an opportunity to communicate something to the viewer and just like spoken language, how you're saying something? Is Justus important as what you're saying? The masters took every opportunity they could toe vary the kinds of lines they were making . They constantly explored and experimented in master drawings. We find that even out of context, the individual lines and marks stand on their own as beautiful forms of expression. It's only when we pull back that the lines begin to work together to create the illusion of recognizable form. There's a moment when these abstract marks coalesce into hair, fabric and skin. By varying the quality of our lines, we can express a wide range of emotions and ideas. You see, every line has a minimum of two functions. The first is to communicate some kind of recognizable form. The second is to communicate an idea or an emotion. Every line is an opportunity to express an opinion, belief, philosophy or feeling about your subject. A good drawing doesn't just tell us what something looks like. It gives us an idea of what something feels like. This feeling could be tactile like for or flesh. Or it could be something more emotional. Good mark, making Comptel us something about the human experience. It can begin to convey the swirling complexity of thoughts and emotions that occur during some of life's most charged moments. I think of every individual line like a letter, just like in language. Letters come together to form words. Words come together to form sentences. Sentences form paragraphs until eventually we get an idea of what the entire story is. The line is thes smallest unit up a drawing, and in fact, a drawing is made up of hundreds if not thousands, of individual marks and lines. And as I mentioned in the introduction, each line you're gonna put down is going to serve a minimum of two purposes. The first is that the line needs described the form that you're drawing, whatever that subject is, it needs to give you an idea of what the form actually is. But the second thing is it needs to express something about the subject that you're drawing . This is an opportunity for you to give an opinion, an idea, a belief or an emotion about the subject that you're drawing. What most people don't realize is that how you're making your lines says more about you as an artist than what you're drawing. And most people don't give a whole lot of thought into what their lines air saying about them. Remember your lines air communicating your thoughts and emotions about your subject, whether you are intending them to or not. So what we're gonna do this week is really give you a sense of how to communicate with your viewer in a way that really expresses your thoughts and feelings about the subject. So I'm gonna start off by giving you a very simple definition of what a line is. I like to define a line is any pathway that the I can follow. What I like about this definition is, it leaves open, wide range of possibilities and interpretations of what a line is and what it can do. This definition of line is important because it allows us to state lines that are continuous, but it also allows us to imply lines and to be able to pull the viewer's eye around the page. Here's an example of continuous line that curves along from one side of the page to the other. This gives us an obvious pathway for the eye to follow. Let's explore to other ways to provide this path without a continuous line. Now, at the bottom of the screen, you'll see about a few dozen vertical lines. Each vertical line is a different height, the way the vertical lines air spaced allows us to easily ignore individual lines and instead focus on the same pathway that are continuous line made. This is called an implied line. It gives arise the same pathway to follow without the actual continuous line being present . Here's one more variation on the same implied line. Each of these three variations provides our eyes with the same pathway to follow. So now that we have a definition for what a line is next. We need to talk about how people relate to and interpret lines now, because every drawing is made up of hundreds, if not thousands, of individual lines. The first thing I want to do is just really simplify this, to see how we react to a single line to the single unit that we're going to find over and over and over in our drawings when we is human seal line, we empathize with it. We tend to anthropomorphize it, which means we project our thoughts and emotions onto it. In treated almost a ziff, it were living. Think so. How Linus made how fast it was made. The kind of quality it has all tend to give us an idea and a sense of emotion about that line. The emotional states that we are feeling and we are expressing through our line work can be picked up by a viewer, and it's important to remember you can't help but express something through your line work . So again, what we want to do today is get some control over that, to be aware of what we're broadcasting to a viewer and to see if we can use lines to express the ideas and emotions that we want. A great way to get a sense of how we as humans interpret lines, is to ask yourself when you see a line. If this line wore a person, what would he or she be doing? Don't overthink it. If this line were person, the person will be standing vertical lines send to have an upright, assertive quality tooth. Um, they're stable, but they're strong. If a horizontal line where a person this person would be laying down, we tend to feel more stable and calm while looking at horizontal lines. There balanced and they seem safer and somehow less confrontational than vertical lines, oblique angles or where things get interesting. Remember, an oblique angle is any angle that isn't a horizontal or vertical in the studio. When students are asked what this oblique line would be doing if it were a person, they tend to get very different answers. To some viewers, oblique angles, air exciting, dynamic and engaging there welcome change to the rigid and safe quality that horizontal and verticals have. The's students tend to give answers like running, flying, leaping, moving and sliding for others the unbalanced nature of obliques are unstable, disturbing, unsettling and even seem dangerous. The's students tend to give answers like falling keeling over tripping and tumbling, while verticals and horizontal suggest order, balance and predictability obliques at an element of unpredictability of chaos. But it's this unpredictability that can add excitement and dynamism to a drawing. Remember, there's no one right way to interpret any of thes lines, but we do want to get a sense of how viewers might react to them in our drawings. Now that you have a definition of line and a sense of how viewers air going to interpret them. Let's practice making different kinds of lines the materials you're going to see me using today or very, very simple. You'll still see me working with 18 by 24 inch paper and a black pencil. But remember, I'm not encouraging any particular kind of media. You can use a ballpoint pen. You can use pen and ink. You can use charcoal or content crown. Remember, the kind of media you're using isn't nearly as important is how you're using it. It's the techniques and concepts that you're bringing to the drawing board. That's really going to show what you're all about is an artist. The ever changing line, which is going to be part of your project today. We'll give you an opportunity to explore multiple different kinds of lines. The directions were simple. You're going to draw one continuous line that changes every few inches. This line can wind around the page, however you like. In this demonstration, you'll see me primarily using the overhand grip. Remember, the overhand grip, which we introduced in week One allows us to engage, not just the tip, but this side of the pencil is well. Unlike the tripod grip. The overhand grip allows us to make soft, hazy marks with a full side of the pencil, but also allows us to immediately shift to razor sharp lines using the tip. During this project, you should really try and push your pencil to its limits. See how dark it can go. Get a sense of what it's like to use the full side of the pencil and then see what just using part of the side is like Push yourself to discover as many new kinds of mark making as you can experiment with pressure. How hard you're pushing down on the pencil experiment with different ways of moving your hand and arm, even though I've asked you to draw continuous line, Don't forget how we're defining line any pathway that the I can follow. This means that you can have individual marks as long as the eye can follow them along the path. Here, you'll see me rolling the pencil back and forth between my fingers. Next, you'll see me grinding the tip of the pencil into the paper before softly lifting it up. Notice that my pencil is constantly shifting directions. Remember, there's no wrong way to do this project. You're welcome to copy some of the techniques you see me doing here, but I encourage you to experiment. I've done this project dozens, if not hundreds of times, and each and every time I challenge myself to find some new form of Mark making. Some of the ways I've experimented include throwing the pencil with the page from a good 10 to 15 feet away, using my non dominant hand to make marks and with a pencil in each hand playing the piece of paper's If it were a drum set, tapping and banging the pencils onto the page. Not everything you try is going to make an interesting liner mark. But this kind of experimentation is critical to be able to see what the pencil can actually dio, even though I'm encouraging you to use the overhand grip. For most of the drawing process, the tripod grip or any other grip you can think of is certainly not off limits when experimenting with lying quality. Even though the tripod crypt doesn't allow us to engage the site of the pencil, which makes it challenging to make soft wines, we can still modify the pressure were pushing down with the speed, which were making our lines as well as hand and arm movements. If you ever need to bear down on the tip of the pencil to truly push it to its darkest limits, nothing beats the tripod grip While drawing dark. You're much less likely to break the tip of the pencil while using the tripod grip than the overhand grip. That being said, one thing I often tell students in the studio is that if you don't break your pencil a least once during this project, you're not pushing the pencil hard enough. One of the best ways to test any medium is to push it past its limits. You can also try using the tripod crypt further back from the pencils tip. This makes it easier to get lighter lines during this project. Trying toe worry about what these lines might be used. Foreign representational drawing Right now, the goal is to generate as many different kinds of lines as possible and to start to think about what these lines might communicate to. A fewer try and begin to sensitize yourself to how a viewer might interpret these emotionally. Does a particular line seem more confident than another? Do you find a particular line to be more beautiful than another? Are there any that you simply do not like? Every line is open to interpretation, and while we'll never be able to fully control a viewer's response toe a line, we as artists have farm or control over our viewers. Emotional response toward drawings than we realize. One of my favorite metaphors for lying quality is tone of voice again. How we say something is often more important than what we're saying. Ask yourself what adjectives related to tone of voice could be used to describe these lines . Do some lines seem to yell, while others seemed to whisper to some line seems softer, while others seem more aggressive. The goal of this project is to begin to explore the infinite range of marks your pencil can make and to realize that every one of these different lines and marks has their own character that communicates something to the viewer. The larger your vocabulary of different lines and marks, you have the more opportunities for expression you'll have in your drawings. Your project today is simple. Using 18 by 24 inch paper, I want you to make three different ever changing line pages. Remember, you could explore line in his many different ways you can think of Don't limit yourself really play around, and also you can switch up media as well. I'm using a black pencil, but you can use anything you have around to make a mark. Once you've done your ever changing lines, what I'd like you to dio is select anywhere between three and six of the lines that you like. You can like them for any reason at all, and I'd like you to practice replicating them on a page. How you're seeing me do this is I've taken a page. I've lightly drawn some straight lines that are going to provide the path for the eye to follow. And then over that, put on the darker line, practicing, being ableto reproduce a line that I find interesting. Well, thank you so much for joining me here on the first day of dynamic mark making. And I look forward to seeing you again on day two. 4. The Emotional Line: welcome to Day two of dynamic mark making. In the previous session, we learned that every line and mark you make is going to serve two purposes. The first is to help represent the object you're drawing. But the second is to communicate some kind of an idea or an emotion about your subject or whatever you're feeling at the time. And I also talked about the idea that we cannot help but do this. However you're thinking, or whatever you're feeling about your subject or whatever you're feeling in general in some way is going to come through in your line quality. So today, what we're gonna do is explore how to take control of this and how to try and communicate specific ideas and emotions through line work. Now it's important to remember that the lines and marks were going to be drawing today are going to be abstract instead of representational. So what that means is, if I ask you to draw a particular emotion like anger, I don't want you to draw angry eyes or an angry face because that would be representational . That's a drawing that's trying to depict a specific object or image, but We want to draw lines that are abstract lines that appear tohave characteristics that are angry or happy or sad without trying to draw a particular picture. So I'm gonna get right into a demonstration today of attempting to communicate a specific emotion through a line for today's project. We're gonna keep the materials very, very simple. You'll see me using an 8.5 by 11 sheet of paper and a plaque pencil. But really, any paper or any drawing materials will work first. We need to select an emotion for this demonstration. Let's use the feeling of nervousness. Before I start drawing, I'll ask myself a series of questions. These questions will help me translate this emotion in tow line. Remember, people tend to empathize with and anthropomorphize lines. So what happens in your body when you feel nervous? We've also learned that the quality of a line can be similar to tone of voice. So what happens to your voice when you feel nervous? What adjectives would you use to describe the feeling of nervousness? Now ask yourself how you can take the answers to all of these questions and translate them into line. Would your nervous line, be big on the page or small. Would it be made of light lines or dark lines? Would a nervous line be made of a hard edged line or perhaps a softer, hazier kind of line? It's important to remember that there is no one right answer to these questions. Everybody experiences thes emotions a little bit differently, and we should expect that everyone will draw them differently. It's also important to remember that the solution you come up with doesn't have to be a single line. It could be an entire collection of lines and marks. After asking myself a series of questions and giving it some thought, I'm now ready to attempt my nervous line. When I get nervous, I don't feel confident. Herbold. I feel small. Therefore, my line should be small, depending on how nervous I am. My voice and body can start to shake. Often. When I get nervous, I feel a little confused. I'm not quite sure what I should do or say or where I should go. I've attempted to put all of these characteristics into a single line. Of course, you may experience nervousness differently than I do, but this line begins to reflect how I feel when I'm nervous For the first part of your project today, you're gonna leave the video running while I lead you through an exercise. Justus, you saw me demonstrate. You're going to hear me give you an emotion, and you're going to have a little over a minute to try and draw that motion abstractly through lines and marks. I'm gonna ask you to Onley draw one emotion per page. And that way you can really explore the emotion. And also, you can consider the placement on the page. Also, I want you to remember that you don't have to limit yourself to a single line. You can have a whole collection of lines and marks There really no wrong ways to do this project. And I really want you to feel comfortable to explore and experiment. First. I'm going to ask you to make an angry line before you draw. Try asking yourself the same Siris of questions. I asked myself before I made my nervous line. What does anger feel like in the body? What is anger sound like in your voice? Will your angry line be big on the page? or small. Will it be hard edged or softer? Will it have a lightness to it, or will it be heavier and dark? What other adjectives would you use to describe the feeling of anger after giving it some thought? Make your mark whenever you're ready and remember, it doesn't just have to be a single line. It could be a collection of lines and marks. If you want. There isn't a single correct solution. There's no wrong way to do this project. I simply want you to explore how a single line can attempt to communicate a specific emotion just a little bit longer. If you feel you need four time, feel free to pause this video and resume whenever you're finished. Next draw line or a collection of lines that appear to be calm. Remember, I'm giving you a little over a minute, but please feel free to pause the video if you feel you need more time drawn whenever you're ready. - Next draw. Sad line. My students report that it could be helpful to try and actually feel these emotions before drawing a line. And finally, Macon excited line a line that appears joyous and ecstatic. How does excitement feel in your body? And how does this translate tow line just a little bit longer. In every beginning drawing class I teach. I lied students through this exact same exercise after giving them the same prompts that you've been given in this video. And I'm surprised to find that even though everybody experiences thes emotions a little differently and everybody two picks them differently on the page. How many similarities there are between students depiction of these emotions. So now I'm gonna show you a series of these emotional lines that students have done in my other classes. I'd like you to pay particular attention to the similarities and the differences between how people depicted thes emotions. And it also like you to compare your own solutions to these emotions, to see how yours relate and how they're different. Obviously, I'm not there with you, and I can't see what you've drawn. But I imagine that you'll be rather surprised at some of the similarities between your work that you've just produced and the images I'm about to show you. Lines that depict anger tend to be dark, aggressive and harsh while drawing angry lines. It's not uncommon for students to actually break the drawing materials they're using because they're pressing so hard. Angry lines often appear jacket and dangerous. These lines often loom large on the page. If students choose to use color, they often select either black or red. Although each of these angry lines is unique, they do share some striking similarities with one another. And we as viewers can often sense the rage coming off the page. When asked to draw calm lines, students tend to take a very different approach. They often draw soft, subtly curving lines that moved from one side of the page to the other. Many viewers consents that these calm lines were drawn more slowly and more delicately. One of the more common elements we see in sad lines is the line descending and dissipating as it falls again. Each of these lines is unique, but there some surprising similarities between them. The's similarities illustrate that although we can never fully control or predict how the viewer will interpret a line, we have far more control than we often realise. The excited lines are often drawn with a burst of energy notice that the page can hardly contain them. They have a speed and spontaneity that is exciting to the I. After going through this exercise, students will often be convinced that emotions can be communicated through line, but expressed doubt that artists are actually using them for this purpose but compared these abstract excited lines shown here to Rembrandts lines. In this strong, they demonstrate a remarkable similarity that showcases Rembrandt's absolute love for drawing as well as his joy and passion for the subject. Now let's revisit this student example of an angry line and compare it with this master drawing by Tintoretto, whose expressive line work gives an aggressive tension to this writhing figure for today's project. I'd like you to continue exploring what it means to try and translate and emotion until line. Now there are many ways you can do this. You can go through the same exercise that I lead you through today. I would even encourage you to try and bring family or friends into this project to see the similarities and differences with how they go through these emotions. One of the important ideas in art is to continue to push an idea further and further, and this is a great opportunity to do that. So what I mean is that you can try this exercise again, But see if you can make your angry line look even angrier. You're excited. Line took even more excited. And you can try to show these to family and friends to see how they react to these. See if they can tell the difference between your angry line and you're excited Line there between your sad line and your calm line. Well, have fun with this project today. And remember, this is the creative, expressive side of drawing that really no wrong ways to do this. And I want you to feel comfortable being creative with how you're exploring these lines. And emotions will have fun with this project, and I will see you again for day three. 5. Bringing Form to Life: today, we're really gonna get into this idea that every line and mark you making a drawing is going to serve a minimum of two purposes again. The first purpose is that it's going to communicate something about the form that you're drawing. But the second purpose is to communicate some kind of an idea or an emotion about the subject that you're drawing Now. It's important to remember that initial light foundation of basic shapes is never intended to be seen by a viewer. There may be some remnants of it left in your finished drawing, but we want to draw the foundation of basic shapes lightly enough so that when we put our dynamic mark making over it, that foundation almost entirely disappears. So if for any reason you haven't gone through the basic skills week of this program, or if you just need some reminders, I'm gonna go through and give a basic recap of some of the ideas that we learned that will help you along with today's project. Now the subject we're going to be working with today is a teacup, or, as hopefully you is drawing, students have figured out it is a large circle and seven ovals at various sizes, various levels of openness and various axes. Remember, we want to get good at translating all forms into basic draw bowl shapes for today's project. I'm going to stick with my 18 by 24 inch paper Ah, black pencil and you'll see me using a blue pencil for the initial foundation drawing. But I want you to remember whatever size paper you have on hand or whatever drawing materials you have on hand will work. I'm more interested in how you're using the materials rather than what materials you're using. In the basic Skills section of the art and science of drawing Siri's. I introduced you to five questions that you will repeat over and over until the light foundation basic shapes is drawn. Here are the five questions What is the biggest shape? What is its access? How big should it be and where on the page should it go? After you've answered these four questions, you're going to make your first light attempt at the shape. Finally, you'll ask yourself, What changes can I make? Despite your best first attempt, it's unlikely that you will gotten it exactly right. Perhaps the shape needs to be moved, or it needs to be made bigger or smaller. Once you're satisfied, you're going to repeat this Siris of five questions again, with one small change to the first question. What is the next biggest shape? You'll repeat this Siris of five questions over and over again until the basic foundation of your drawing is laid during today's demonstration, you'll see me use the two ovals that make up the handle of the teacup as a foundation for improvisation later on in this series will give you more specific strategies to draw complex compound forms such as this. In this first demonstration, I've drawn the foundation of basic shapes in blue pencil. It's important to note that I've drawn these light foundational shapes darker than I normally would. This is only for instructional purposes, so you can see how the light foundational shapes relate to the darker lines will put on later. Now you'll see me switch to a black pencil from my dynamic mark making experiments. The easiest way to quickly add dynamism to your drawings is to increase the speed that you're drawing lines that were drawn quickly and confidently. Simply look different than lines that were drawn slowly or timidly. In this demonstration, I'm not really worried about accuracy. I'm allowing my pencil lines to fly past the contours and careen out of control of the curves. Remember, we're not trying to do good drawings or finished drawings today. Were just searching for interesting line work will have plenty of time later on to explore rendering shading and details. In at least one of your experiments today, try drawing much faster than you're comfortable with. Viewers tend to be more forgiving of a drawing that excites them. That isn't entirely accurate than they are of an accurate drawing with line work that bores them. We're trying to avoid doing drawings with uninspired or predictable line work, and increasing the speed of your mark making is one of the quickest and easiest ways to do that. You'll also note that these fast fluid lines are drawn rather dark too often, beginning students are terrified of making dark lines. Although they are more permanent, they're bold, assertive quality usually makes up for any inaccuracies. For my second line quality experiment, I've chosen to work with a scribbling, chaotic line. I'm lifting my pencil is few times as possible and going back and forth over areas I've already drawn on. The resulting drawing almost looks like a tangle of yarn or string. Instead of simply tracing over my light foundation of shapes, I'm only using it as a loose guide. My darker lines meander over and around it while sometimes ignoring it all together. Even though the quality of the line remains constant, you'll notice that I'm darkening or lightening the pressure that I'm using. This allows me to give the illusion of light and shadow in some of the areas of the tika. The density of the lines in any given area also help with the illusion of value. The more dense, the tangle of line, the darker the area appears. Although the style of line making appears messy, I'm able to capture a huge amount of detail and information about the teacup. I'd also like you to notice that this unpredictable, chaotic tangle of lines provides us with more than enough visual information to comfortably perceive the teacup. You may not like the way this drawing books, and you may not like the way some of your experiments look today, either just remember, our Onley goal today is to do something interesting to break up the monotony of boring line work. The more you experiment with different kinds of lying quality and mark making, the more likely you are to find a dynamic way of drawing that you love while experimenting with line. It's important to ask yourself, What do you think of these kinds of marks and lines? What do they remind you off? Do they make you feel anything? Do they make you think about anything in particular through the lines and marks suggest any ideas or concepts? There are no right or wrong interpretations. But I do want to suggest the viewing of drawing like this is a very different experience than viewing a drawing that is simply rendered to be realistic. For my final line quality experiment, I'm going to attempt to communicate a specific set of ideas. I still have a vivid memory of being 14 years old and learning for the first time that our human experience of matter being solid is nothing more than an illusion created by the constant buzzing of atoms and particles. I've also had a long time fascination with the vastness of the universe and the concept of deep time that are average human life spans our infant testimony small on a cosmic timeline . I wanted to experiment and see if I could create drawing whose line work began to suggest some of these concepts to see if I could communicate a sense of the impermanence of objects to suggest the energy contained the atoms that make up every object that surrounds us. To hint the mysterious nature of the laws of physics that govern this world that we occupy and to try and evoke in the viewer a sense of theater theory, a beauty that I feel while contemplating even simple objects. Now I'm certainly not claiming that all of these ideas and information come through in this drawing. But I am suggesting that by starting off with a specific and lofty intention of what you want to communicate is a wonderful way to stimulate your imagination and creativity and will allow you to create drawings that go far beyond representation. The lines and marks that I've used to make this drawing are entirely vertical. They're created by pushing the pencil upward, applying a large amount of pressure at the beginning of the line but dissipating as it rises, allowing the line to soften and then disappear as it ascends. The ascension of the lines is important. Note that you can tell just by looking, that the lines are moving upward and not down. If the lines had been drawn descending, the drawing would take on a look of rain or some other particulate substance that was succumbing to the force of gravity. However, the ascension of the lines that I've drawn give the viewer a sense of overcoming gravity, as if the individual particles of the object or separating and rising. Now it's important to note that what we gain, an expression we often lose in detail. It's difficult to capture every nuance of shadow or every subtle change in the Contour. While applying some of these more expressive lines, however, it can be a worthwhile trade. Is this kind of dynamic mark making has the power to turn an otherwise mundane still life subject into a cosmic drama. For today's project, you're going to use the tea Cup diagram that I've provided for you. I'm going to ask you to draw three different teacups. I'm gonna ask you to draw the teacups roughly life size on the page. They don't have to be perfect, and if they're a little bigger or little smaller, that's OK. But remember, doing a drawing that is too small can feel very claustrophobic. You won't have a lot of room to explore your mark making, and on the flip side, doing a drawing that's really big can feel overwhelming with so much surface of your page to fill. Once you have your three lightly drawn teacup foundations on your page, I'm gonna ask you over each one of them to explore some different kind of dynamic mark. Making the kinds of lines and marks you're putting over your lightly drawn foundation can be expressive emotionally, as we experimented with in Day two. Or you can try and come up with some kind of an idea or philosophy as you saw me demonstrate. Now you're welcome to explore one of the kinds of marks that I made, but I would also really encourage you to see if you can invent some kind of mark making that is completely different. I'd also like to remind you that the goal of today's project is not to make good drawings. And it's not even to make finished drawings, thes air, just studies and exercises that are going to allow us to explore experimental and dynamic marks and lines. This is an opportunity for you to be creative and expressive without the concern of doing finished work. Even though these kinds of exercises aren't producing work that you can frame or hang on the fridge necessarily, they're still invaluable your development as an artist and they'll allow you to explore what kind of aren't you want to make, what kind of drawings you want to dio and really, who you are as a creative individual, Remember, learning to draw isn't so much about me telling you how you're going to do things. My job is to give you a technical foundation, but your job is to take that technical foundation and do something creative on top of it. And this is exactly what we see demonstrated in most master drawings over an incredibly light, a gestural foundation of lines. For the figure, we find a flurry of scribbles that suggest a furious waving, which gives the viewer a distinct sense of fabric in motion. We get a similar sense of time and motion with the way the arm of the drummer is drawn, suggesting the back and forth beating of a drum. The entire drawing is infused with a sense of motion and excitement, not so much because of the subjects of the drawings themselves, but because of the way they're drawn. While learning about dynamic mark making, students will often ask about smudging or smearing their lines, and marks in orderto achieve the appearance of smooth form or a heightened sense of realism . Although I'm not going to actively discourage you from smudging, I will say that most masters rarely used this technique. A closer look. Even a drawings that appear to be meticulously blended, will usually reveal hundreds, if not thousands, of individually drawn marks, each distinctly visible on the page. Your unique anatomy, your life experience, how you think and feel, and your unique reaction to the drawing materials will all in some small way be transferred into your lines and marks without any effort at all. You already have a mark that is uniquely yours. I would encourage you to think twice before obscuring it. Well, thank you for spending time with me in the studio today and I will see you for Day four 6. The Tactile Line: to start off today's lesson. I'd like to introduce you to a critical concept, and I'd like you to keep this idea in mind for the rest of your drawing career and certainly for the rest of this program, the native language of drawing is the line. The line is what the pencil or most drawing materials most easily make. Now we can use this line to create value, to create shapes, to create all kinds of texture and details. But when we distill drawing all the way down, we're working with the line. Now I'd like you to take a look around you for a moment and ask yourself this question. When your eye falls upon any object, do you see a line around this object? Can you see some kind of a dark line, like we see in a drawing, going around the edges of the object? That the answer, of course, is no. What we do see are different colors and values butting up against each other, but we do not see an actual line going around the edge of objects. So what this means is that the line, this tool that we use drawers and artists rely so heavily upon doesn't actually exist in reality, at least not in the way we reference it and drawing now. I think this is an exciting revelation because it freezes up to do other things with our lying quality. So while you're drawing, I want you to keep this critical concept in mind when we draw were not simply copying what we see where using our subject is a reference point as a jumping off point to communicate something to a viewer. Now, even the most representational drawing, one that is hardly discernible from a photograph is still made up of tiny little lines, and I'm encouraging you to use thes lines. And Marks is an opportunity to go further than just simply representing what the object looks like. So today we're going to explore is how to draw lines and marks that give the viewer a tactile sense of what an object might feel like to the touch. Now, just like we did earlier this week with emotions were gonna ask ourselves a series of questions that are gonna help us translate the object that were drawing into tactile marks . Now I have selected a series of objects toe work with today that each have a different tactile sensation, and I'm gonna ask myself a series of questions. What did the subjects feel like when I touch them? Is my subject hard or soft? Is it heavy or isn't light? What other adjectives would I use to describe this subject? And how can I use those adjectives to try and communicate something through line? In each of today's demonstrations, you're going to see me start off by simplifying each object into its biggest and most basic shape. In this case, it's the circle. After drawing in the axis of the balloon, you'll see me lightly at on the rest of the shape for the balloon. Next, you'll see me lightly dry in the small triangle and the oval that make up the tide off end of the balloon. Notice that even though this oval is very small, I'm still making the entire motion of the oval, just like you saw me demonstrate in Week one. Next, I'll lightly draw in the oblique angle for the street. Now that my life foundation is laid, I can start trying in the darker lines that I want a viewer to actually be able to observe . With every mark I make on this balloon, I want to communicate the idea of lightness and lifting. The only areas that I'm going to add darkness or tension are in the tight off end of the balloon, which has no helium in it and isn't contributing to the lifting and the string, which is still being pulled down by gravity. Next, you'll see me using a bit of shading to imply the roundness of the balloon. We'll talk much more about shading in weeks seven and eight in the art and science of drawing. But until then, remember, the goal of this project isn't accurately record, light and shadow. It's to give the viewer a tactile sense of what this object might feel like to the touch. Every time my pencil moves to a different part of the object, I'm asking myself, How would this part of the object feel? How would it feel different from the rest of the object? And how can I communicate that through lines and marks? With the exception of the string and the tide off end of the balloon, there really aren't any dark marks in it. While dark marks, look and feel heavy. Lighter lines look and feel light, while thicker and chunkier lines imply heft and weight thinner lines also communicate lightness. The majority of the lines of the contour or edge of the balloon are very fit. Although there are some thicker lines in the shadows, they're still used very, very lightly there no dark, thick lines in this drawing. One of the ways I'm attempting to communicate the lift of the helium balloon is by making the lines of the contour of the balloon get lighter as they get nearer the top. Although none of the line to the contour of the balloon are truly dark, you can see that the ones at the top are barely there. Contrast this with the lines that I've made for this string of the balloon, which are by far the darkest lines in the drawing. Again, this implies that the string of the balloon is being pulled down by gravity while the actual balloon is lifting up. Almost every line in this drawing communicates rising. Even most of the light shading lines are drawn vertically, and the majority of the line to the contour of the balloon were drawn going upwards as well . In this demonstration, I've tried to take us many opportunities as I could to demonstrate a lightness and lifting . Once again, you'll see me start off by drawing a light circle, which is the most basic shape in the water balloon. Next I'll place the Axis line, while the helium balloons access line was at an oblique angle, implying that it was floating upward. In a way, the axis line for the water balloon will be going straight up and down because gravity is pulling it toward the ground. Next, I'll complete the overall shape of the water balloon by adding in two lines, the curve upward from the edge of the circle and go toward where the water balloon is hanging. Notice that these lines make a triangle on top of the circle. I've drawn both of thes lines, moving downward to help imply the gravity pulling down the weight of the water balloon. The first dark lines you'll see me add are at the places that I want to communicate the most tension at the top of the balloon right underneath, where it's tied off. The weight of the water underneath would be tugging downward, pulling the upper section of the balloon tight and taught. Next you'll see me drawing darker, heavier lines underneath to begin to communicate the weight of the water, pulling down and filling the balloon inside the edges of the balloon. I'll start to draw dark, thick lines again to help communicate the weight and heft of the water pulling down. Hopefully, if I've done my job correctly, this water balloon drawing already looks heavier than the helium balloon you just saw demonstrated. But I'd like to continue to push the feeling of heaviness of the object to really try and communicate the weight of gravity pulling downward with each dark, thick line that I draw the belounis, hopefully appearing to become heavier and heavier. The only thin lines I'm drawing are near the top of the balloon, where again the tension is pulling the membrane of the balloon tight as well as the tide off end of the balloon, where I don't need to communicate heaviness. I'd like you to note that this drawing hasn't been done by starting off in one area and moving outward. I'm trying to address all of the object at once this way, no one part of the drawing is more finished than any other. The drawing develops as a whole. This strategy allows me to evaluate whether or not the individual parts of the object are working together as a whole. Instead of rushing in and trying to complete one section before moving on and then trying to complete a separate section of the drawing, I'm developing Theo entire drawing in stages. Once I'm confident that the drawing is going the direction I wanted to in this case, communicating heaviness at the bottom and attention near the top. I can decide whether or not I want to do another pass to further push these tactile sensations, the more you evaluate your subjects in terms of their tactile sensations. And the more you practice this, the more sensitized to tactile drawing you will become. But hopefully you can not only see but feel the difference between these two demonstrations . I once again like to reiterate that the kinds of lines and marks I've used in this drawing were not observed on the subject and then copied. I made a conscious decision to communicate something specific to the viewer in this case, the tactile sensations in Nate to these objects, The large basic shape of the pillow that I'm drawing is essentially a quadrilateral. Before adding any detail, you'll see me block in the basic shape, altering it as needed until I'm happy with the Light Foundation. Next, you'll see me lightly. Draw in the secondary in tertiary shapes of the pillow again. If you're struggling with this stage of the drawing process, please check out the basic skills. Week of the art and Science of drawing the overarching tactile sensation I'd like to communicate in this drawing of a pillow is the sensation of softness. Every line you'll see me make is intended to reinforce this feeling of how soft the pillow is. The lines I'm using to communicate this are gently curving with soft edges. Although the line quality I've used at the edges of the pillow is slightly darker than the rest of the lines, I'm not using any truly dark, heavy or hard lines. You'll also see me using slightly darker and firmer lines in the folds of the fabric near the corners of the pillow. These kinds of lines and marks allow me to suddenly increase the tension of the folds without making the pillow appear rigid or hard again. I'm not drawing the lines this way because I've observed to them on the actual subject. I'm using soft lines because of the experience I want to evoke in the viewer. This kind of mark making operates almost on a subliminal level. The lines and marks you've seen me use in today's demo drawings aren't nearly as overtly expressionistic as the lines and marks we used on days 12 and three of this week. They could easily be mistaken for lines that are purely representational. They nevertheless communicate with the viewer in a way that is distinctly different than if I had used hard, sharp and angular lines again. I'd like you to note that instead of focusing on a single area for any real length of time , I'm moving around the drawing quite a bit in an attempt toe. Have the drawing develop as a whole instead of in bits and pieces. This allows me to make sure that all of the different sections of the drawing are in relationship with one another, and after each pass over the full drawing, I could evaluate and decide whether or not, The drawing needs to appear softer or whether I can stop in the spirit of pushing these tactile sensations. As far as they can go, I've decided to take more opportunities to soften the subject. You'll see me indicating shadow here. But again, I'd like to remind you that rendering light and shadow accurately isn't the goal of this week. Our goal is on Lee to push and explore the tactile sensations of our subjects, the further the drawing goes, hopefully the softer and softer the pillow appears to become. You can see that I've decided to draw a few lines up and over the surface of the pillow from one side to the other to help communicate the puffiness again. These lines weren't observed on the subject, but were yet another way I could communicate softness, puffiness and roundness. You might have noticed that many of the lines I've used in the pillow are similar to some of the lines I used in the water balloon and the helium balloon. But hopefully you can see that the pillow drawing doesn't have a sensation of weight or heft like the water balloon did. But it also doesn't appear as if it's about to float away. Hopefully, it has Justin of heavier lines to ground it. Remember, there isn't just a single way to communicate any particular tactile sensation. This is just one possible variation of how to communicate the softness of a pillow. The subjects in our three previous demonstrations all had some elements of softness. But in this demonstration drawing of a rock, there shouldn't be even a hint of softness. With the exception of the very simple foundation drawing every market line in this demonstration should communicate jacket nous and hardness. Instead of gently curving lines flowing into one another, you'll see me drawing straight sharp lines coming together in jagged angles to indicate the shadow side of the rock. I'm using a series of parallel straight lines to further reinforce the idea of the rocks hard surfaces. Next, you'll see me pushing the pencil to It's the darkest limits with a series of small, sharp lines in an attempt to give the viewer an impression of jagged shards. It's important to remember, though, that only using one kind of line in a drawing, no matter how dynamic that liner mark, maybe limits the dynamism and expression possible in that drawing, a variety of expressive and engaging marks is critical to keep the viewer visually interested in your drawings. So even though the majority of lines in this drawing are dark and sharp, you'll still find some lines that are lighter in softer edged. Although I've made an attempt to keep all of these lines straight now that the drawing is starting to take shape and the tactile sensations of hard surfaces and jagged edges are starting to be communicated, I can push the drawing further by darkening it and adding more details. I'd like to take a moment here to remind you that no matter how seductive any detail, maybe it's important to hold off on drawing details until the foundational shapes and forms have been successfully drawn. In all of today's demonstration, drawings clearly illustrate the idea that a drawing evolves over time, starting with simple light forms that gain in complexity until the details are drawn. Instead of finishing one area before moving on to finish a separate area of the drawing, you can see the drawing evolving as a whole, with each new pass providing more detail and information. Now let's compare this drawing of a hard jacket rock to our earlier demonstration of a soft , billowing pillow. In both of these demonstration drawings, I've made an effort to capture not only what the subject looks like, but how it would feel to the touch, trying to evoke in a viewer specific, tactile sensations. My hope is that you can see that although these drawings are representational, meaning we can recognize them is a rock and a pillow. Each of them are going beyond representation in an attempt to give the viewer a richer visual experience. So before I give you your project today, I want to leave you with a few thoughts. Remember, we are not simply copying. What we see we're using are subject as a jumping off point to communicate with the viewer. And what we're communicating could be emotional. It could be tactile, or it could be philosophical, but we really want to take advantage of the opportunity that line work gives us to go beyond representation. And again, this is what we see Masters do over and over and over again in their drawings. So while you're asking yourselves questions about your subject about what the tactile sensation would be if you touched it. You should constantly be asking yourself how to translate those tactile sensations in tow line with light lines or dark lines. Be better. Should your lines be soft edged or hard edged? Should they be straight an angular or should they have curves to them? Now? Of course, these are the only questions you could ask. I would encourage you to come up with your own set of questions to ask while you're evaluating subjects, but I just wanna offer these as a starting point. What I'd like you to dio is to choose a pair of objects that have an opposing tactile sense about them. If one of your objects is hard, the other one should be soft. Or if one of your objects is light, perhaps the other one should be heavy. You don't have to choose the opposing tactile sensations that I've addressed here. You can choose any opposing tactile sensations that you want, but the important thing is that the objects you choose feel completely different to the touch. I'm gonna ask you to start each drawing by laying a very light foundation of basic shapes and lines. Once you're confident that your lightly drawn basic shapes and lines are accurate, you can start laying down the dynamic and tactile marks that really gonna bring this subject to life. Remember, every mark that you put down should be answering this question of what does the object feel like? And how can I communicate this to of your now? If you're struggling at all with laying a light foundation of basic shapes for these drawings, I would encourage you to revisit the basic skills week of the art and Science of drawing. And again, I'd like to remind you that we're not worried about doing good drawings, and we're not worried about doing finished drawings. Our Onley goal is to explore and experiment with line work that is going to give the viewer a tactile sensation of your subject. 7. Atmospherics: today, we're going to talk about atmospherics now. First, I want to talk about this word atmosphere. The word at Mr actually has two primary meanings, both of which have implications in drawing on. The first definition is related to the Earth's atmosphere. It is literally the collection of gases and particles, including oxygen or humidity, that make up the earth's atmosphere. Now the second definition of atmosphere we're going to talk about today is related to mood and ambiance, the feeling we get from a particular place. So the phrase that people often use while talking about atmosphere and this way is creating an atmosphere. First, let's talk about atmospheric perspective, so there are only a few principles of atmospheric perspective that you really need to understand. So here they are, objects that are closer to us appear higher and contrast, meaning that the darks air darker and the lights or lighter their higher and color saturation, which means the colors will be brighter. They're literally larger because they're closer to us, and they're often in sharper focus, meaning weaken Seymour details. So this means that conversely, objects that air farther away from us appear lower, in contrast, meaning the darks aren't his dark. The lights aren't hiss light. They have less color saturation, meaning the colors aren't his bright. Of course, objects get smaller as they get further away from us, and finally, they might have softer edges in less detail. They might seem a little bit out of focus as the particles in the air obscure the information. Now we Onley observe atmospheric perspective over great distances. Often it takes miles to be able to see these effects. But given enough distance, we can expect to see the effects of atmospheric perspective in almost any environment. In this first photograph, you can clearly see the bright greens that dark shadows and this shimmering highlights in the foliage in the foreground. But as the coastline recedes into the distance, you can see the color in the contrast disappear. The further the coastline gets, the less color in less contrast, it has now take a look at the coastal formations On the right side of this photograph, you can clearly see the contrast sequentially fading away as your eye moves from the closest formation to the most distant. Even the ocean itself seems tohave. The color sucked out of it, the closer it gets to the horizon. In this last photograph, you can see fog in the distance, which, of course, is made up of many tiny particles of water suspended in the air. Any increase of particles in the air, whether it be moisture or smoke, tends to amplify the effect of atmospheric perspective. The more dense the fog gets, the less coloring contrast the objects have. Now, let's take a look at how artists use this technique in their drawings at this point in your art education were not yet talking about color but instead focusing on contrast, just like we saw in the photographs, we can clearly see the darkest Starks being used in the formations nearest the foreground. As the coastline curves farther back into the distance, we lose all sense of contrast in detail. Instead of the sharply drawn subjects we see in the foreground, we find nothing but a light wash of value to indicate the distant coastline in this drawing . Although the most distant mountains do have more detail in them, you can still see that the values remain consistent with what we would expect from atmospheric perspective, and we can still see that all of the darkest darks are massed near the foreground. So I'm going to introduce you to a technique today of drawing with the side of the pencil in orderto lay down a large mass of value and when we talk about value, were simply referring to the lightness where darkness of a subject. So the goal of this technique is to be ableto lay down a transparent, even massive, value similar to a wash technique and watercolor. But using the pencil now when done correctly, this kind of drawing obscures individual marks and literally lets the value take center stage was actually difficult to tell what direction the pencil was moving. This technique is often referred to as graining because it allows the grain or the texture of the paper to come through in the drawing. Now this technique of washing or graining is going to be incredibly useful in both of the ideas of atmosphere that we're talking about today, and it's one of the most common techniques used among artists. Here's an example of this technique. You can see that with the exception of the edges of this shape, it's very difficult to tell which direction the pencil was going. While making these marks, you can also see the texture of the paper coming through the massive value. While watching me demonstrate this technique. Notice that my pencil goes back and forth over the same section multiple times. This serves two purposes. The first is to help obscure any individual struck's. The second is to darken value. Should I desire it? Next, you'll see me go over the entire massive value again, but this time slightly altering the ankle of my stroke. This second pass further obscures any individual lines. Remarks remember. The goal of this technique is to get a wash of value that doesn't show any individual strokes. Next, you'll see me demonstrate this technique again, but this time applying on Lee a small amount of pressure. This allows me to create an incredibly light wash of value. Next, you'll see me attempt an even lighter wash. It's important to get comfortable applying this technique in any value, light or dark. It's also important to remember that if you want a darker value, you can always go over it again. But the's light values have to be done in a single pass. It's nearly impossible to lighten, awash without destroying the effect. Finally, at the bottom of the page, you'll see me pushing this technique to its darker limits, making a second pass that darkens it even further. If you want to get good at drawing techniques like this, I would recommend practicing the abstract just like you see me doing here without any pressure of using them in a representational drawing that's allow you to focus solely on your technique. So when you need to use it in an actual drawing, you'll be ready. Once again, you'll see me start this drawing off by laying a very light foundation of basic shapes. Because I'm inventing a landscape of overlapping mountains, I don't have to be quite as exacting and feel comfortable adding some details to these basic shapes. Next, you'll see me darkening each shape, with the darkest values being used nearest the foreground and the lightest values being used for the mountains in the back. This closest section of the mountain is going to be the darkest and the one in which will see the most detail. So here you'll see me articulating individual trees. The dark value and level of detail will help to pull this section of the mountains forward . Now, using the side of my pencil, you'll see me lay down a very dark mass of value. You'll also see me going over in multiple times to darken the value and to obscure individual strokes. Next, you'll see me articulating the tree line of the section of mountain behind the one closest to the foreground. You'll notice, however, that I'm not drawing it with the same level of detail or the same amount of darkness as you saw in the mountains in the foreground. And once again you'll see me laying in a value mass, using the side of the pencil, being very careful not to go over the edge of the tree line. Being able to control the shape of your massive value comes with practice. Any areas of the shape that my first pass might have missed could be gently and carefully filled in. I'm taking particular care not to make any of the strokes individually visible, but instead trying to get these new strokes to gently blend in with the larger mess. You'll see me repeat this technique over and over again, each time decreasing the darkness of the value and the level of detail. It's important to note that the subject of this drawing forested mountains are a subject that's fairly dark in value, meaning that section closest to the foreground will be the darkest, with each section getting lighter the further back it is. If our subject had a wider range of values instead of just being dark like the forested mountains you see me drawing here, we would expect to see the extreme lights getting darker and moving towards a middle value the further away they got. Remember. Ultimately, it's the contrast that changes, meaning that the further away an object gets the lower. In contrast, it is meaning it's darks aren't is dark and it's the lights aren't his light. Working with atmospheric perspective. Starting off with a subject with a unified dark value allows us to explore this technique in its most basic fundamental format and will offer you a wonderful opportunity to practice laying down value with the side of your pencil. We'll have plenty of time later on in this eight weeks, Siri's to explore more complex subjects. I'd like you to notice that in order to draw extremely light lines and values. I've moved my hand away from the tip of the pencil and toward the back. Although still considered an overhand grip, this variation on it makes it easier to draw lightly, putting barely any pressure on the tip of the pencil. Now let's speed up the drawing process. You'll see me making numerous adjustments to values and edges, carefully making sure that each section of the mountain has a distinct shape and a specific value, and to make sure that the relationships between the values and the entire picture are working as a whole, and that each section of the mountain is getting sequentially lighter as it goes back. Now that we're nearing the end of this basic atmospheric perspective demonstration, I'd like to talk about a common misconception about the drawing process. Many people assume that drawing that ends with a high level of detail begins with a high level of detail. This could not be further from the truth. The more you learn about drawing the Morial, understand that a drawing evolves over time. Even this simple demonstration of limited values could be turned into a highly detailed, highly realistic drawing. If I decided to take it in that direction. In fact, if I had planned from the beginning to turn this into a highly rendered and realistic drawing, there's not much I would have done differently. Don't underestimate the power of the seemingly simple, humble beginnings. So now let's talk about the other definition of atmosphere, the one that has to do with creating an atmosphere or creating a particular mood or feeling around your drawing. Now there are many ways to think about creating atmosphere, but one of my favorites is the idea of activating the air or the empty space around the subject. Now this is a very common technique used by master artists, and once again we're in the realm of ideas that aren't observable. We can't see the air activated when we're actually looking at a still life subject, but it's a drawing technique that allows us to go beyond representation and communicate something to the viewer. Here you'll see an excellent example of value being laid down, using the broad side of a drawing tool. Note how clearly you can see the grain of the paper come through. While using this technique. I'd also like you to note that as we pull back in this drawing, it's very difficult to find an individually discernible line or hard edge in the entire drawing. This technique gives the impression that the subject is emerging from a thick fog, giving the entire drawing a ghostly sense of mystery. This is an excellent example of the artist activating and making known the air and empty space around the subject. In this next strong. You can see that in addition to the clouds in the background, you confined numerous light lines. Electrifying Theo Air. It's difficult to say what the artist's original intent was with these lines, but whatever their intention, they do add visual excitement and interest toe what could have been a more mundane background. There are potentially an infinite number of ways to create different moods and feelings in your drawings. I would encourage you to explore and experiment to see what kinds of thoughts and experiences you can evoke in a viewer. I often use both of these interpretations of atmosphere in subtle ways, even in drawings that seem very representational. One of my favorite things to do with atmospheric perspective is to apply it to subjects that don't occupy space deeply enough to produce the observable effects of atmospheric perspective. In figure drawing, for example, no one part of the body is ever so far away from another part of the body that we would expect to see the effects of atmospheric perspective. But that shouldn't stop artists for employing this technique to imply depth while drawing the arm closest to the viewer. I've used a combination of dark values and lines as well as bright highlights, giving the arm a sense of high contrast and a sharp level of detail. Now contrast this arm with the armed furthest from the viewer. You'll notice that the far arm doesn't include much detail. It doesn't have any dark darks or any highlights. It is left sketchy and undefined. This allows the far arm to recede back into space. While the closer arm seems to come forward, you can see the same technique used in the legs. It's not as if I observed the effects of atmospheric perspective on the model and then copied it into my drawing. I made a conscious decision to use this technique in order to help imply depth. One of my favorite ways of creating an atmosphere by activating the air and space around the subject is leaving behind evidence of the entire drawing process. All of my initial attempts at the form, including gesture lines, measuring lines and construction lines, are left bare on the page to be seen by the viewer. I do this for two reasons. First, is that it gives the drawing a sense of time in motion. They provide a kind of motion blur that seems to capture the figure in mid movement. The second reason is that I believe humanity's fascination with drawing is in part due to the fact that drawing, unlike a painting, reveals everything the artist was thinking while making the drawing in a painting. You can cover up all of your mistakes and missteps, but the process is more difficult to obscure in a drawing, making the experience of viewing a drawing akin to reading the artists diary. Seeing evidence of the artist thought process, along with all of the mistakes and missteps gives drawing a sense of intimacy and vulnerability. These kinds of process lines are called Pentimento pentimento, our lines that show evidence of the drawing process, including mistakes that are intentionally left visible on the drawing surface, erasing or otherwise obscuring Pentimento, He leaves the viewer with a more sterile and less human sense of the artist. I think Pentimento e add excitement and dynamism to a drawing, as well as provide a glimpse into the mind of the artist for your project. Today, I'm gonna ask you to get out into the world and see if you can observe atmospheric perspective in action. You should be able to see the effects of atmospheric perspective regardless of the kind of environment you're in, whether it's more natural or more of a city escape. As long as you have enough distance and depth, you should be able to see the effects. Now, if it's possible, I'm gonna ask that you actually do withdrawing, trying to record the effects of atmospheric perspective that you're able to observe. Now remember, we're not doing any kind of detailed drawings today. We'll have plenty of time for that later on. This is an excellent opportunity for you to practice the drawing technique we learned today by laying down value using the side of the pencil. Now, remember, we don't need to include any details today. We're simply looking to get the effects of atmospheric perspective once you're simplifying shapes of value, were starting toe work as atmospheric perspective. If you want to try and add a couple of details, you can. But again, the main idea here is to capture the simplified effects. Now for a bonus challenge. Today, you can try and simulate the effects of atmospheric perspective on a still life, just like you saw in my drawing. You can use three ideas. Inherent atmospheric perspective. The diminishing contrast, the out of focus edges to give objects in a simple still life the effect of depth. Remember, you're not going to be able to observe it in a still life, but that shouldn't stop you from attempting to employ the illusion of atmospheric perspective.