Expressive Abstract Art Figure Drawing using Pen or Marker | Kimberlee Everson | Skillshare

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Expressive Abstract Art Figure Drawing using Pen or Marker

teacher avatar Kimberlee Everson, Mom, Artist, Hiker, Believer

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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

8 Lessons (38m)
    • 1. Course Introduction

      1:07
    • 2. Materials

      6:31
    • 3. The Starting Sketches

      3:04
    • 4. The Initial Figure Outline

      3:14
    • 5. Refining the Figure Outline

      2:20
    • 6. Shading with the Brush

      4:54
    • 7. Detail Work

      11:17
    • 8. Bonus: Second Drawing on Fast Speed

      5:04
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About This Class

In this class, you will learn how to create or copy a simple abstract figure drawing and enhance it using color and line.

The demonstration will be with pen and ink, but other markers or paints will work.

Meet Your Teacher

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Kimberlee Everson

Mom, Artist, Hiker, Believer

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Transcripts

1. Course Introduction: Hi, I'm Kimberly everson and I wanted to introduce to you this course on the abstract figure. In this particular course, I am going to be demonstrating using fountain pen, pen and ink in order to create enhanced abstract figure drawing that can become quite beautiful and fun to look at. Well, they talk about using pen and ink and specific types of paper in this particular course, there's a lot of options that you can use. You can use instead of the fountain pen I have, you can use Sharpies. You can use any kind of marker that you have in order to complete this project. Or you can even use watercolors, repaints if you're so inclined. However, I'll be demonstrated in talking about techniques using found. The project that we're going to make is going to be similar to the style of this particular piece. For this particular piece using similar kinds of colors, we're going to first make a drawing, and then we're going to from that drawing, enhance it using color and line. I hope you'll join us and enjoy this course. 2. Materials: In order to complete the project for this course, you're gonna need a variety of items. First you're going to need some kind of ink, whether that's markers or pens. Here, I've got some things I want to show you. Of course you could just use something like a Sharpie, although that's not what I'm going to be using in this particular course. You can also use something like a passcode marker or other art pain marker. That can be a lot of fun. What you're going to want is you're going to want something with more of a brush tip as well as something more of a fine to medium tip. Okay, you're gonna want both of those particular kinds. And you're going to want that in black and in one color of your choice. I'm going to be doing that in a light blue for this particular project. However, I'm not going to be using those. I'm gonna be using fountain pens. And you can see a variety of ones that I have here. Found pins are a lot of fun. You can find them on Amazon for anything from $10 on up. And found pens or design generally to be refillable, either using cartridges or using R, or because they have an actual ink reservoir Within. You can see this one right here has an ink reservoir. This pen here has more of a cartridge that you snap in. This is the, the ink cartridge right there. You can see that. And you can snap that in and they come in various colors, not just black. So the little cleaner and easier to use, that there's less varied variety to the types of ink you can get that way. And they also come with a variety of kinds of tips. This one right here has a brush tip, which means it's made to work on, on paper. And you do that more where you can see it as if you were using a brush. Pay. And sometimes you have to turn an adjusted to release a little more ink. But that can work on, on a paper just like fresh. You can also get just typical points that are, that are more of a typical writing pen. And these can be anything from extra fine to find medium broad point pens, depending on how big the line is that you want. Okay, and you can see that one is a, this one's a fine pen and extra fine actually have a variety of those kinds of tips. This particular pen, as we call it bent tip. And then tip is called that because it's been, you can see that right there. So you see with this kind of broad tip pen, you can make varied line widths depending on what angle he is. So that can be fun and that can work in this project is alternative to a brush pen. Although brush pen will work a little bit better. And these are just on the other pins. I have another colors. I've got one input when in black here. And I've got a brush pen and black as well. And for this particular project, I'm going to be using the brush pen and the fine tip and block. And the same thing in the light blue. So I'll put the, put the other one away through right now. And you can do watercolor with, with a brush and use that with markers or whatever you want to get both a brush and a fine tip pen effect. The other thing, of course, that you need to worry about would be paper. And paper can be varied various types. This particular paper I'm using here is actually Photo paper, that kind of paper that you put into your printer. And I like that because I like how the colors show up on that. You get a lot of intensity to the color on the photo paper. So I'm going to use that here for this demonstration. Hover. You don't need that. You can use it. You can use other paper. If you're using markers, often markers will bleed a little bit and you'll get a rough edge. It's another reason I like this, it doesn't do that. You can use other kinds of paper that you find doesn't bleed. For example, marker paper or UK to use watercolor paper. I'd each use each of those kinds of success in the past. So it's a matter of what you'd like there. The other thing, of course, you need a few. If you have, if you're using fountain pens like ideas, you need some kind of ink. Here I have my two bottles of ink. These are both new Googlers, zinc. This one is called Heart of Darkness, noon. There's is a great brand high-quality inks. These are water-based, not, not alcohol-based stinks. And you can't put alcohol-based inks into found bends because it ruins them. They get all sticky and Duncan isn't work. So these are made specifically for fountain, fountain pens. And so this one's called Heart of Darkness. And this one comes with a dropper in it. So that'll be larger butter with a dropper in it. And, and then the other one I have here is called lining blue. That's also a new layers ink and as just a lighter blue. And it's just, it's real Pena lightened, vivid. So enjoy that. And again, water-based, a water-based ink so that it is safe to use in these kinds of pence. And the other thing I'd like to have on hand is some kind of a rag. Otherwise, you can see that I get I get pretty dirty and that's because I just filled some of my pens and I leak to little bit. But for the most part it's a fairly clean process once you have the ink and the pen, that's one reason I like it. And something that I can do. It places where I'd worry about spilling, where I'd be worried about doing painting or water color or something like that in the mess they might make. Because it's pretty well once you've got an append pretty well contained to the pen and paper. Of course, as you keep a rag around just in case of leaks that come as a surprise to me. The other thing that you're going to need as you're going to need something to use as Andromeda drawing to start with. Now, I am going to provide here you see it available for you to download a drawing that you can trace if you wish to, or you can draw a free hand your own drying. So in the next video, I'll show you those drawings. 3. The Starting Sketches: Let's talk a little bit about abstraction. Can see this particular figure here is an abstracted version of morality. Meaning is simplified, right? And I'm slightly abstracted. It's still very recognizable What this is a picture out and turn it around so that you can see it a little bit better and get an angle that works for my, for my camera here. K is still quite a good representation of reality that it is somewhat abstracted. You can see where particular muscles and parts of the body are. That it's not anything like you'd get out of a camera, right? Or a, or really refined realistic drawing. This isn't even more abstracted version of that figure, just to show you the variety of levels of abstraction you can get. This one is more abstracted. In this particular sketch I'm, I'm looking at what I really feel the figures about and to me says a lot about nonlinearity that's going on, that tallness, thinness, linearity of the figure. Okay, here's another one. This is, this isn't just an abstract abstraction of two people hugging. And this is quite abstracted, but it still looks like two people hugging. And this was just drawn based on a picture, a photograph of two people hugging. This one is a much more abstracted version. So this one, you see these lost even any, any indication of what was going on. If you didn't know, you wouldn't know that it was two people hugging. So that's even more abstracted. And this final example is the one that I provided you with. Examples of that we're going to work with. And for this particular project, we have a woman who's strap abstractive is still very much, I'm a realistic picture. You can tell what's going on. You can tell where she's sitting, where you are, but XOR you can tell that she's got kind of abandoned her hair and so forth. This was an abstraction made of that, that's quite non-representational. And this is a different one. That's again, well maybe in some ways more representationally can see what's going on a little bit better. That is definitely quite simplify this as quite a minimalist and line drawing. And so what I'm going to do is provide for you this, these two, okay? You can download either one of these that you choose and use a starting point, or you can make your own drawing either based on one of these or on any other photograph or picture or live model, if you have access to one or whatever you have to do. But I'll be demonstrating using I'll be demonstrating using this one right here. He'd rather go with a more abstracted, of course, you're welcome to do that. And in the bonus section of the course, you'll see some other figures and things that you can use to practice on. 4. The Initial Figure Outline: In this video, we're going to create our basic line drawing. So what you wanna do is take the drawing I have for you are drawing, you've created yourself and then the paper that you want, your final project or beyond. And I'm just going to create a tracing of the essential lines in the drawing. You see, I can see through that really pretty well. If you put it up to a window or something, if you need to do a little better. And of course, if you're, if you're talented as an, as a drawer, you can just draw it yourself. That I wanted to make this silver. It was a level anybody could do it even if you don't have skills and figure drawn. So I'm going to do a simple line drawing with my fine pen. Now, how am I often keep a piece of scratch paper on the side in case I need to get my pen flowing again for this kind of PET. Nothing I wanted to mention is this particular paper being photo paper. Sometimes if I'm to scratchy at a push too hard with my pen was going to end up happening is is something from the surface of the paper is going to kind of gum up my pen. And so then it's not going to go real well. So if you are using the exact materials I'm using, then that's something you want to be a little bit careful. But all I'm gonna do is I'm just gonna go ahead and trace. And, and even though I can draw freehand just fine, I usually like to create my figure drawing does how I want it first on another piece of paper. So that I've gotten that down. And now I just have to worry about the ink. At this particular stage. Stage, of course, I can make some, some little different little changes as I go. Ok. And against yet got a little bit of my pen, isn't me used in awhile, this particular one. So it's so it's coming up and sticking Just a tiny bit. And I'm also pushing a little bit too hard. You gotta push the quite gentle if you're, if you're using this particular approach. I found that these particular markers, I mean, well, they're not really markers. Fountain pens work very nice, look very nice on this particular paper and they dry really nice on this particular paper. Using them is always, sometimes a little bit more tricky. Don't worry too much about how finished and beautiful these lines look. You see that mine are kinda jiggly and so forth at this point and that's not an issue because we're gonna be going over them with our brush pen, making them stronger. That it, What I'd like to do at this point is just mark out where the features are. So I'm just going ahead and doing that. Again, keeping it as smooth as I can. This is just a hint of a flip here. And the purpose of this phase is just to get rid of features are, don't worry if it doesn't look too hurt. C, because, you know, we're finished looking a little bit roughness to it. That's just part of the process. Ok. So I've got it marked out here what I want to take away, the one underneath, I don't need that anymore. 5. Refining the Figure Outline: Now there are other basic drawing. What I'm gonna do is I'm going to make the outline of it something that looks a little bit more beautiful. And I can choose to do that by going over the line to now more carefully a little, with a little bit more finished to it with the pointed one I used before. Or I can do it with the brush pen. And I think what I'm gonna do is actually go ahead and do it with C with the fine point when to fine tune it a little bit, make it look a little bit cleaner and more like I want. And again, as I do that, with this particular pen, I'm going to be quite smooth and my motions. Now, sometimes I have to shake it up to get the, to twist a little, to get the ink coming a little bit better. Pay something on the end. And sometimes what happens is I, is I do this as I find it a little width here, that's okay. You can fill it in. Just refine a little bit the line drawing that I have. And we'll work on improving it from here. Again, I'm not necessarily going right on top of the exam the first time. And that's okay because we're gonna have a lot of lines with a lot going on. By the time I'm done. I'm just kind of solidifying. Making a little darker, sicker. They push a little harder. Making more just how I want it to be. Since I've got the basic shape here from before. And we'll be adding in more lines and more details, various layers as we move along. And you may want to make it look very much like a figure, and you may just want it to be an abstract shape depending on your goal. This particular one, I'm looking at, trying to make it look very much like an abstract figure. 6. Shading with the Brush: Now what I'm gonna do is start enhancing the lines and shapes will make it beautiful as I do it because this is abstract. I'm not working. I'm not worried particularly about where it might be light and where my B shadow, I'm just trying to make this look beautiful and joyful and have the feeling that I want with it by just using ink where I want it to go. Okay, so the first thing I'm gonna do is I'm gonna go to my color now, which has my light blue in this particular case. And I'm going to my brush pen. So this phase, you really want to have a brush or a brush pen or something like that. You can make wide soft lines have more of a painting feel to it. And I'm going to just using my intuition, put down some areas of this light blue where it feels nice to me. Okay? So I just kinda start. And sometimes what ends up happening is the the black pen then I put down first, starts bleeding in and kinda get pick it up on my brush. And that's just all part of the beauty of it. When you're done, hit a bill carefully, dirty hands and I smashed on there but I'll hide it with something when I'm done. And so what you wanna do is just, just pick places where you think it would look beautiful to be enhanced with, with your color. And again, things will smear together. You can do this of course, with more than just black and one color. You can use multiple colors if you want. And for me, this figure is about curves. And so I want nice smooth curves to the feeling of the shapes I'm creating with the blue. And this wanted to feel smooth and elegant. Hey, and I don't worry about that again, that the mixing of the pain is just something that's part of the process. Sometimes this pen gets a little dry and it is twisted a little help release more of a or the ink come out of it. As I do that, I may end up making other shapes that weren't there before. And the feeling I'm going for is just kind of smooth and curvy to it. And you may decide to do an abstraction that's more of a boxy feeling to it or something where you've got a little bit more discipline and rigidness, I guess I could say to it. I just, it depends on what you're interested in creating and what looks beautiful tail, okay? So this is the idea now is just, I really want to make it feel beautiful. Feel like the lines are emphasized and enhanced. And each layer that we work on this, it'll get a little bit more fun and a little bit more beautiful. Can you overdo it? Will. I mean, there's no right and wrong and are sometimes you can do something that you feel like you would out of balance and made it feel or made it feel sloppy or something like that. That can be disturbing to you. There's not really a right or wrong way to put things in and specific spots. You just kinda do what feels pretty to you. And we're going to enhance these shapes for making what line in a little bit. So this is just kind of a step. And enhancing the line is my my favorite step that we'll be doing further on. I don't want to leave out the hair. I'm just kind of giving the hint of some shape in there with the blue. And the same thing, that phase she can do as much or little licit as you want you generally, if it's a delicate part of the body like the face, you want to be delicate in, in what you use in terms of strokes. So you can kind of play with that, tell you you feel like you really love it, you like it. We can come back and add more things to it later. And of course, we always had in change as we go. 7. Detail Work: In this particular video, now we're going to enhance it using lines. You can use either of your colours or a third color if you wish. I generally find that I like to do some black no matter what else I might do. And this particular one, and I think I'm going to hands only with black. I might decide to come back and do a little bit of blue will seek. So what I'm gonna do is get my fine pen again. And there aren't any rules of course, to how you're going to use this. Or you can add lines. What shape they have to be in so far, meaning they straight or they curvy and so forth. I generally think of in terms of a couple of categories. One being lines that kind of enhance the edges of a shape I've created with my blue, which really makes it look cleaner. And I generally like most of my lines to continue to finish in an edge of the figure and not just be hanging out. There are some exceptions like here with the shoulder blade and so forth. So what I'm gonna do is I can, I like to think of them turns of lines that edge spaces are closed edge bases, add some variety to it by not always finishing right on the edge of the space, but sometimes, sometimes next to it. I also think in terms of doing lines inside the spaces. Okay. And I think in terms of doing lines, how side the spaces. So and I'd use my line to clean up my original, My original edging as well. I got a little bit of paper finishing my pencil, going to scrape that off. So, so that's kind of what I do. And I kinda go here in there through the, through the painting or drawing, whatever you wanna call it. Kinda half and half of using a brush if Villegas painting. And I'm going to do it just to enhance the beauty of the lines in the shapes as I go and see you there. I pulled that line on the outside and I feel like really helps the figure feel connected to them. The background in the background here is just going to be left white. Here I had the little smudge I created with my hand. So I'm gonna go ahead and fill that in. Pay and I can make wines of various thickness by going over it several times with my, even though it's a thin pen. And you can see I'm just kinda I'm unclear hearing, clarifying and cleaning up this edge. I'm going to come in here. Sometimes I add a little squiggly too that I sometimes think that feels nice. Sometimes I clean up the edge of the space. Sometimes I know, and I just kind of work through this. And the idea is to make the shapes and the lines in themselves beautiful. Make it so it's fun to look at. And I feel like I'm kind of inclined in this one to do a little bit more of the finishing, the edging of the blue spaces. Again, that's not necessary, just sometimes I feel like doing more of that and other times other times I'm a little looser with it. I can also come in and use my black paint brushes I want but I feel like he had a little bit careful with black paint brushes. You get too much darkness. Again, sometimes I like the shapes to come inside, outside my various shapes. And I can be quite loose with it. The Real Beauty to me in these little pieces is, comes from this line work at the end. Everything else Romeo is just fills a little bit like like preparation. You tend to smudge like I'm doing. You can put another piece of paper in your hand and just mix up the degree to which you really sharpen versus things a little bit more fun and playful. And sometimes I find it's fun to do this same figure more than once. That's one reason why once I got my finger down, I trace it. Cuz I kinda come to understand it and, and what you love about it and what you want to emphasize in your piece and what, what you want to enhance and what you want to push shapes you like. What types of lines that you made in this one ended up really looking pretty. This all just dumb. Really a matter of sorry, I think I was hiding a topic. That's really just a matter of fear, subjective taste, and what you think looks beautiful. I like to go for a much more holistic feeling about the piece as opposed to having different sections, having different colors or whatever. Um, I like the feeling of a peace feeling like it's just kind of beautiful flowing lines that happened to make a person. And you can play with that for as long as you want. Of course, you can sometimes overdo it and feel like going to mention line going on or whatever. And then I like to look at just it by section and say, okay, you know, isn't interesting enough in this area. So look interesting enough, or if not, what can I do to make it more interesting? So we, I can align to it to make it fun or to look at or be more beautiful to look at in just kinda keep playing with it that way. So for example, I was thinking this shape look kind of boring. So that's why I added some of these other little bits in here. I may decide to kind of scoop outside of it. So it has a little bit of a feeling of connectedness, the background, and a little bit of a feeling of softness. And I'd like to do that a lot of places. You wanna kinda balance so that, you know, you're black and you're blue or kind of balanced across the piece. And, and also you have a balance of them. Spots where you have a nice clear line to the figure and spots for you allowed your line to kinda come on the outside of the theory a little bit. And really soften it to me though, softer things really beautiful. Now if you would like a smudge like I did here, Camino, all you do is you, you find a way to incorporate it in, into your piece and add a little bit of a smash. And I'm just going to kind of work around that there. Make it look like it's intended to be there. I also like to look for spots where it feels like a lines kinda ending in the middle of nowhere and clean that up. So that it feels like just feels like lines that kinda go on forever and ever and again, just happen to make Person papers scraped up. Tends to be any ear. It's not an IR, just happens to be. Its kinda how I feel about it. Again, I spots where I didn't specifically outlined the blue or it came on the outside of the blue and places where I hit it. And I think you look just look for any little details where you feel like it looks a little messy or needs a little more interest through the drawing. I don't ever know where they collies drawings or paintings because I end up drawing with a pen. I do a lot of paint stuff with them at times. And sometimes as opposed to just having that block and the one-color again, I can do multiple colors, May do a darker blue and a lighter blue. And there'll be places where those kinda naturally Nixon blend together, which makes it looks pretty. Or I may end up doing a more complementary scheme or at gun red, yellow, and blue or something like that. It's not complimentary, sorry, primary colors. Good. Complementary to, of course then. Anyway, I feel like that's kind of gone where I want to go for the moment. And try and hold this in a place where you can see it. Angle, I've got the camera and I hope you'll share with me the things you made. You can watch a bonus video next where I go through and without talking, just, just kind of do a speed drawing of another figure. 8. Bonus: Second Drawing on Fast Speed: Hi. In this video, we're going to do a second complete demonstration of the process. As you can see what I'm doing here, I'm starting off by tracing the initial line drawing that I'm going to use to create my piece of art. Next, what I'm doing here is I'm refining those lines just a little bit. And again, I'm using my narrow point, my fine point black pen. Of course, you could use any color you want. But I like to usually start off with a, with a black pen in most cases. Now I'm moving on to use my brush tip pen. In this case, I'm using kind of a purplish pink color that I, that I like for this particular abstract. You can see here I'm just kind of randomly picking areas. To fill in. The idea here is you want to enhance your figure the best you can. You're not worried about whether that's where there would be shading or anything like that. I think of it more two-dimensional at this point. You just want him do areas that you think will look beautiful to have filled in with your color. And you can use two colors here if you want to. I'm just using one color in this example as I did in the prior demonstration. But if you want to, sometimes it's nice to go monochromatic and use it darker and lighter version of the same color such as blue or pink or whatever. And other times it's really nice. If you do something like contrasting colors, maybe you do a complementary color scheme or ease primary colors are, or whatever it is you like for your particular image. See sometimes here, it's helpful to choose the space that I want to outline that space with the brush pen and then to fill it in with a brush pen. Other times I just start right off and start making an area with a brush pen until, until I find is the shape I want. Now what I'm doing is moving on and this is different from the prior demonstration in that I use a fine point pen in the color in addition, in addition to just the black. So here I'm using that paint pen. And remember you want to think about doing several different types of uses of this fine tip pen. One is maybe to go inside the figure, another, you see that I'm going outside the figure to kind of attach it more to the background and to kinda soften the edges. Sometimes I'm going inside the actual colored space to kinda give it interest into that particular spot. And sometimes I'm going into the whitespace. Other times I'm lining right on the edge of that colored space to kind of define it and clean it up a little bit more because the brush pen doesn't always leave a perfectly clean edge. So it just kind of something you do good work. The figure from one end to another just kind of randomly until I get the, the look that I like. I find that often I like using the color fine point pen more when it's a darker color. But that's just me and the look I like. And I always come back and I I typically do some kind of black regardless because I like the look you get when you have a full range from white to black within it, you've got white of the paper. And if I've got the block that comes in with my fine tip pen, then I think that, that gives it really some, some great depth to this. Really, you know, 2-dimensional is drawing. And again, you can vary what you do. You can use the fine tip pen outside the figure, inside the figure inside the colored shapes, wherever you want to add beauty. And you started just looking at each little section of the figure that drawing that you've created to see whether it needs more interested anywhere. That needs more interest, that's where it you've seen me maybe adding something else. Sometimes it's fairly random, but other times it's consciously because I feel like, okay, that's a big area of the pink and I want to add some interests within it by adding a line within it. Or you might see that i want to soften the edge somewhere. Another area where I haven't before.