Fun Drawing Exercises That Will Improve Your Skills And Ability To See More Accurately | Robert Joyner | Skillshare

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Fun Drawing Exercises That Will Improve Your Skills And Ability To See More Accurately

teacher avatar Robert Joyner, Make Art Fun

Watch this class and thousands more

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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

22 Lessons (3h 18m)
    • 1. Introduction

    • 2. Materials

    • 3. Blind Contour Drawing 101

    • 4. Blind Contour Assignment Reel

    • 5. Robert's Take Blind Contours

    • 6. Semi Blind Contour 101

    • 7. Semi Blind Contour Assignment

    • 8. Robert's Take Semi Blind Contours

    • 9. Negative Space Drawing 101

    • 10. Negative Space Demos

    • 11. Negative Space Assignment Reel

    • 12. Robert's Take Negative Space Assignment

    • 13. Upside Down Drawing 101

    • 14. Upside Down Assignment Reel

    • 15. Robert's Take Upside Down Assignment

    • 16. Opposite Hand Drawing

    • 17. Opposite Hand Assignment Reel

    • 18. Robert's Take Opposite Hand Assignment

    • 19. Straight Line Drawing 101

    • 20. Straight Line Assignment

    • 21. Robert's Take Straight Lines Assignment

    • 22. Recap & Projects

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About This Class


In this class you will learn a series of unconventional drawing styles exercises that will help you see your subjects more clearly and upgrade your skills. It's designed for creatives of all levels from the beginner who is just starting out to experienced artists that want to break away from traditional, rigid drawing techniques and try something fresh and exciting.

The exercises are as follows:

Blind-contours - this is the ultimate building block for all other techniques that follow. Drawing your subjects without looking is the key to eliminating habits that are controlled by the logical side of the brain. By not looking you are only focused on what you see in your subject and not what you are actually creating.

Semi-blind contours - similar to blind-contours but you are allowed the occasional look to check your work. Another great tool to connect to your subject with sensitivity to horizontal, vertical and angular lines.

Negative space drawing - this is where you draw your subjects only using the space around them. It has a similar feel to contour drawing but different because you are focused on the space outside the subject.

Opposite-hand drawing - Have you ever tried drawing with the opposite hand? What a learning experience this is! It allows the brain to stop focusing on pre-existing ideas and techniques because you have to re-teach yourself to draw. This is yet another way to stop pretending you know how a subject is supposed to look and pay more attention to the subtleties of what you are drawing. A great tool!

Upside-down drawing - no, you will not hang upside down top do this so put away the inversion boots. Instead we will flip the images upside-down and draw them. An effective exercise that will shut out all previous expectations and experiences because you are seeing subjects in a new perspective. Lots of fun!

Straight line drawing - this is where you drawing your subjects without any curved lines. All curves are expressed with a series of straight lines. This is a great way to change-up your routine and add a twist to your drawing skills.

Included in this course is:

  • a complete breakdown for each drawing exercise
  • plenty of demos to help illustrate each drawing technique
  • assignment reels for each technique where you complete a series of drawings using timed images
  • I will complete the same assignment reel as you so you have something to compare your work to

Suggested Materials

Draw with whatever you have. I use a variety of drawing mediums from granite to drawing with watercolors. I encourage you to draw with mediums that you don't ordinarily use. Spice it up!

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Robert Joyner

Make Art Fun


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1. Introduction: Welcome to Fun drawing exercises that will improve your fundamental skills and ability to see more accurately. And this class I have assemble a collection of unconventional drawing methods that are both fun and easy to try for all levels, these techniques will help you break away from some of the rigid drawing techniques that are often taught. This class is loaded with fresh ideas and each particular exercise has an assignment for you to complete. I will also complete that assignment so that you have something to compare your work too. So if you're ready for an upgrade and to add some excitement to your drawing skills, then let's get started right now. 2. Materials: Alright, let's have a look in my materials. This is student grade drawing paper. Very cheap. I buy in bulk, is 24 by 18. You can draw on whatever you like. If you have print paper you want to use that, that's perfectly fine. As far as drawing devices, I will be drawing with a graphite pencil. This is a four b, but I will use that. I have a series of Sharpies I liked to draw with as well. And then of course, on the right I have my water. 3. Blind Contour Drawing 101: The first exercise we will do is blind contour drawing. In this exercise, you're only going to focus on the contour of your subject. The contour is simply the outer edge of the subject. So we're not going to focus a lot on what's happening on the inside. I am demonstrating this idea as I draw a simple coffee cup. So again, the inside lip of the coffee cup, but not be necessary. We only need what's on the outside. I will take a Sharpie and go around the contour of the cup with a heavy lines. So these are the only lines that you would need to focus on. If you're still unclear about what that means. Don't worry, I will cover this in a little more detail as we move forward. In order to do a blind contour is very important that you do not look at your page. You're only going to focus on looking at your subject. So know that when you do a blind contour, it will not be accurate. However, there is some excitement, the results, and that's what we want to learn. When you do a blind contour, you're looking at your subject and you're no longer looking at the actual artwork you're doing. When you're looking at the artwork that you're creating, a lot of times your brain will take over and you will miss out on all of the subtle details. Now here's a few additional tips that will help you when you start to do a blind contour. Compare all the angles and lines of your subject to both a vertical line and a horizontal line. So for example, if I dot a vertical line on the side of the coffee cup, you can see the angle of that coffee cup moves away slightly from top to bottom of a vertical line. And of course I wouldn't want to represent that and my blind contour. Now if I draw a horizontal line across the bottom of the cup, note how the curve of the bottom of the cup has quite a bit of contrast to a straight line. And this is kind of interesting because a lot of times when you're drawing and you're looking at what you're drawing, you're going to basically draw what you already know versus what you're actually seeing. So the purpose of a blind contour is that you're going to get things that are a little more representational of your subject. And this may sound a little far fetched, but believe it or not, when you start to really look at the angles you draw in a blind contour. You'll probably notice that it has a more accurate representational quality to this subject than if you're actually looking at the page and drawing it at the same time. And again, we'll talk about this stuff a little more as we move forward in this exercise. The last tip I'm going to share with you here is a clock. So a clock has two hands. But we only need to think about one. The hand maybe pointing at the 12, It may be pointing at the 36 or nine. So a lot of times when I'm trying to figure out an angle of something, I tried to envision Which number on the clock would it be, would it be pointing at? And that will help me understand a little bit about drawing an angle. So those are my tips for you. Again, compare things to a vertical and horizontal and then also think about the clock. Which way is that line heading on a clock? So these few tips I think should give you everything you need to move forward and hopefully understand now what a contour is and then also why we do this exercise. Believe me, your results will not looked like your subject, but it's going to have a fresh quality to it and you're going to be surprised at your results. So the purpose of this exercise is to help you with vision, actually taking time to digest the angles and contours of your subjects, and then to react to them, to envision a horizontal and vertical line. And perhaps the numbers on a clock better draw and represent the angles you're seeing. I will do a series of three one-minute blind contour drawings. I had my little timer there. You can see as move in, but here's my image. So you can see it's a simple Still Life Straw, a glass, a little bit of looks like parsley or something, and then a little napkin. And again, I have to remind you, I am not looking at what I'm drawing. I am only focusing on my subject. You do not even want to peek at what you're doing. You want to be very sensitive to the angles. Is it a horizontal? Is it moving towards the 11 o'clock? Is there a curve at the top or is it straight? What angle are the straws moving up and down, et cetera. So as I'm drawing it, those are the questions I'm asking myself. I am now finished with my drawn and that can look at what I've done. And I'd really like the feel of that first piece. I can see the jagged edges of the parsley. I can see the angles of the jar and so on. This do another one. You can see I keep my little phone there, so my timer set. And speaking of timer, here's a little clock. And I'll start with the little handle at the very top. Again, when I look at that handle, unlike Is it perfectly horizontal or does it move in an angle? And I'll follow that same thinking all the way through. Again, it's important to not look at the paper done this exercise quite a bit and some live workshops. Now always fine, no matter how many times you say that, the students will always cheat. And we don't wanna do that. This is a true, honest reaction to what you're seeing. And that's what this goal of this exercise is all about. You want to learn, to train your eyes to see and to trust that your hand and brain can recreate the curves and angles that you are seeing without actually looking at what you're drawing. A very good exercise, trust me. Now let's do a third one. And I will make this one a little more challenging because I think for many of us we tend to tighten up. Will me started drawing people. So let's see what happens again. As I'm drawing this, I'm thinking, here's my knee. Is that coming down towards the six? Is it coming down and between the 67, there is another knee. What angle is that moving out? How do how does that compare to a horizontal or a vertical and so on. So again, when I'm done, will not look like much in terms of being a finished drawing, but there's a lot of truth. And these contour drawings and the results that you see are only half of what you're really getting here. It's taking time to see your subject, but that is really so important. So times up, here are my results. There you can see my three demos plus you have the reminder tips. And what a contour actually is. 4. Blind Contour Assignment Reel: Welcome to the blind contour assignment real. And this exercise, you will do a series of two minute blind contour drawings. There are a total of six images. If the image has multiple subjects, only focus on one object, okay, so don't try to do the entire image. Use the tips I shared in the previous lesson that will help you draw your blind contours. There will be a 10-second notification that sounds like this. So when you hear that, know that you had ten seconds left to finish up the image you are working on before the next one begins. If you are confused about what your blind contours may look like when you're finished. Here as my example. So that's that. Let's get started with the first image right now. 5. Robert's Take Blind Contours: Here is my take on the blind contours. If I did not need the entire time, then I just cut it short, but going to kick it off with the coffee cup. And again, I'm using the exact same images as you. If there's something noteworthy that I feel is important for me to say I'll chime in. If not, I'm just going to cue the music and just let you follow along as I create these blind contours using the same ideas that I've shared in the previous videos. Okay? And I have a mass. One more. And I like that. Okay. A right. Right. And that's a wrap. Here are my blind contour drawings and I will see you in the next month. 6. Semi Blind Contour 101: And now it's time for a semi blind contour exercise. And this one is going to be very similar to what we did in the blind contour. But we're going to look, all right, so we had the luxury of peeking back and forth. So this was the previous blind contour. So there was absolutely no looking. And when we're done with this exercise, we're going to compare it to the semi blind. And the key to both of these, especially with the blind contour, is it's all about making decisions, seeing angles, trying to relate them to vertical and horizontal lines. And then also using whatever techniques we can come up with, like the clock to give us a direction on which way the lines heading. And what we're trying to avoid. Or let's just say what we're trying to get as, as kind of intentional drawing and not this sketchy look that I'm doing now where you have lines all over the place, there's a 100 decisions and nothing's really concrete. So in a sketchy looked like that there's nothing definite and we're trying to avoid that and come up with something that looks more decisive whether it's right or wrong, it doesn't matter. So we want to make decisions, put it down on the page and avoid that sketchy look. So we were basically drawing. You want to understand this all about making decisions and not flip-flopping too much back and forth. So we look at our image or our subject, and we have a starting point. And we say, OK, that's where I'm going to start. This is the angle thinking and it is, and we go for it. So we don't want to create a bunch of lines and when we can really create just one that will do the job. So here I'm using the same images and that's because I want to compare it to what I did in the previous exercise of the blind contour. So you can see I started with this straw. I made my decision on the angle and I came down on the top, the side and now coming down the long side of that jar. Now I didn't like that angle, so I didn't completely create a bunch of series of lines. I just created one other line that I felt was a little more accurate and it's okay to make corrections. It's not that I don't want you to do that. It's just I don't want you to create a bunch of lines when really one job can do the trick. So again, it's all about making those decisions and sand, this is what it is. Put it down and if you fill at some point is incorrect, then make your changes. I am using two minutes to create these drawings. So even though you can't see where I'm looking NOW that I am basically gone back and forth. You don't really have to say, okay, I'm going to look at my drawing for two seconds and then draw for two seconds. It doesn't have to be anything to uniformed or to concrete. The key is to look at your drawing and then go to your page and put those angles down and look back and forth and check your drawing all the while And even still. This is not really about creating a perfect drawing so much as it is about making good decisions and sticking with it, putting it down. Let's try the next one, which if you remember, is our clock. And I will start the same way using the handle on top of the clock and then moving into the bells. And again, even though I've drawn this in a blind contour, I am still very sensitive to the angles. So as I follow this bell around, paying attention to how that little pen kinda goes through the center of the bell and then connects to the actual clock. I'm trying to get the depth eventually of the clock, the roundness of how that takes shape and the form in the leg. There is kinda of a tapering leg. So it's not just straight. And I've got a tapering shape on the opposite leg as well. So I'll bring that around. And then eventually we will get to the top and I will draw my second bell. And notice too, when I'm drawing, I rarely take my pen off the paper. And this helps me to just follow the shape of what I'm drawing a little bit better than stopping and starting. At some point you're going to get a complete shape. And you will have to start again like I did. But, you know, that's something you can try to and see if that connects to you at all. So I'll just kinda like to keep it down on the page. And his lead that line continued to work for me. And basically taking it off when I had to get to a new shape. I'm paying attention here too. And we wanted to talk about this later, but the negative shape. So as I do the interior of that bell, I know there's a, another little pen or probably some sort of stop on top of that clock that will stop the alarm from sounding. And I'm paying attention to how all those shapes connect him and relate to each other. So all in all, not too bad, it's on a perfect drawing, but there's something still very honest about. It is very pure and it's easier to read than that real hectic, sketchy look. With the figure. I will start again towards the crown or top of the head, looking back and forth obviously, and trying to get those angles so the hair comes down at flows from the top of her head and then it changes angle to the hair that flows down to the knee. And then we had the NEA band which comes down and connects to the other leg, comparing distances. So I can look at the leg that is bent on the right-hand side, farthest away from us, and try to compare the length of that. Q other things that I have drawn, some kinda making those comparisons back and forth as I go was well, we've gotta fold and the genes. So we can see a little bit of that happening there. So trying to feel out that contour of that fabric folding and how, what's a little bit thicker there and the leg versus the leg, I should say. And now paying attention to you, my angle of the leg coming down and then eventually connecting to the beach or the sand. So at this point, I'm going to go back to the top of the head and then follow that angle down. Tried to relate that curve to the back and then bring it around eventually to the glutes where there are connected to the beach. I probably could have used a little bit better angle there in the back. So I think it's a little more rounded and I think it goes back a little bit more towards the right-hand side of the page. But hey, that's, that's the way drawing is. It's never quite perfect. Because in theory, if you're practicing your drawing, you're constantly getting better. So you're mark, you tend to keep setting or raising the bar every time you practice. So this would be something that when I go back and draw this figure again, I would probably critique myself and say, Okay Robert, you gotta get a little more length through the back, rounded off a little bit so that she has that feeling that she's pitched a little more forward and not sitting so upright. So that was just some mistake on my part. So these are things that we learn from these exercises. So again, these are my semi blind contour demonstrations. There are clean, decisive, and inaccurate. Ok, I mean, this is not about trying to draw accurately. It's about making good decisions, filling out those angles, filling out those contours so that we can train ourselves to see better. And there we can compare the blind contour and the semi blind contour drawing. So you have something there to kinda compare back and forth once you're done doing want an extra SaaS similar to this. 7. Semi Blind Contour Assignment: Welcome to the semi blind contour assignment real and this exercise, you will do a series of two minute semi blind contour drawings. We are going to use the same format. So two-minute images, there are the same six images and we're using the same images so that we can compare the blind contour exercise to it. So be sure to focus on the similar objects as you did in the first practice assignment real. Again, there will be a notification that sounds like this, so that you know, you have ten seconds left to wrap it up and get prepare for the next one. If for some reason you do not have a clue on what's your drawings should look like. Here's another peak at my semi blind contour demo. And I think we can go ahead and start with the first image now. 8. Robert's Take Semi Blind Contours: Okay, here is my take on the semi blind contour assignment. I am using the same drawing device, and of course we are using the same images. And when I am done with my take, I am going to compare it to the blind contour drawings just to see what's similar, what's different and that sort of thing. So I am going to queue up the music and let you watch me draw in real time. And then I will see you at the end of my drawings. After the last day. Maybe. That is not a game. And then Mm-hm. Okay. Right. Mm-hm. A. Right. And that's it. Right? A. Okay. Okay. So I'm all finished up here and we can look at my take. Not too shabby. Obviously, there are some corrections that could easily make. But for two minutes I feel like the contours are good. Edges or jackie, where they need to be, an angled, where they need to be, and so on. Now let's compare those to the blind contours. So it's kind of interesting how certain things are very similar. And actually I even liked the quality of the blind contour is a little bit more. There's just something a little more and depth in those drawings. There's a little more sensitivity to some of the contours and edges where I didn't quite get that in the semi blind contours. Anyway. That's that I will see you in the next exercise. 9. Negative Space Drawing 101: Welcome to negative space and drawing exercise. In this lesson, we're going to go over negative space drawing. I'm going to give you some tips on how I like to use negative space, what I relate it to, and so on. As with the other exercises, I'm going to first discuss exactly what negative space is. So I like to think first about my four main edges or lines on my artwork. And that is the top, bottom, left and right. That could be the edge of the canvas, can be the edge of the paper. In this case, it's the rectangle that I've drawn on the page. Now, I've also drawn a little simple coffee cup. So I highlighted or I darkened the little ring inside the handle. I'm also drawing a heavy line around the top edge of the cup, the spoon, and the edges of the top left and right side of the frame. And then also the background, which could possibly be a table. So if I were to take a red crayon as I'm doing here and just add some tone to that area of the art. Then that's going to represent the negative space around the top of the cup. Also in the handle. I'm using the Green Crayon here to indicate the negative space around the bottom and then the saucer of the cup. So with two negative space areas that I've drawn here, I can easily indicate the silhouette of this cup. And that's basically what negative space is. That is a very simple subject. But now let's take another subject, which is possibly more complex because the lines and edges are little more sophisticated, but it's only one object. So I'm not going to pay attention to the waves or anything else, but we could also, however, connect the shadows to our subject. So I'm going to start with the legs. And again, I look at the edges of the frame. So the left and right side of the image, I've also had the top and the bottom. Someone I'm looking at negative space, similar to contour drawing. I am very sensitive to how those angles relate to both vertical and horizontal edges. And there's no better edge to compare that to the edge of the image itself. And then of course to the artwork that I'm drawing. Now it may look like I'm doing a contour drawing here because they can be very similar when you view them like this. But know that I'm looking more at the negative space around the form and I'm more sensitive to trying to the cipher and indicate where those, how those negative space shapes are on my art. So as I follow the arm up on the right, I'm sensitive to the negative space angle of the shoulder. Now on going up the face here, I want a slight angle to the right so that could be heading towards that one o'clock. And again, this is all about understanding the space around and in between the object that you're drawing and not so much the contours. It probably wouldn't make a little more sense once we get into subjects that have two or three objects. And in that way, we can look at the space in between the objects. But even still, you are trying to use negative space to draw and understand your form. So I've got the negative space around the left-hand side of the figure. And now I'm looking at the negative space in between the inside edge of her left arm and of her left side of her body. Trying to really understand how that shape looks, how to draw it, how it kinda snakes or S's up towards the armpit and so on. So to make this a little more clear, I'm just going to take my pencil and shade in all of the negative space that I intended to draw. And show you in this quick demo. So again, know that negative space is a good tool to use. Always use the edges of your frame, that could be your paper canvas. And compare the edges of your subject to the perpendicular or the horizontal and vertical lines. And then also look at the space in between the areas of your subject. So here is the demo art. And don't worry, because we are going to discuss this a little bit more as I do three demos and the next lesson. 10. Negative Space Demos: All right, for my negative space demos, I'm going to time it the same two minutes I used in the previous contour drawing lessons. The purpose of timing is so that I can work quickly and look at the image that's the key. Look at the image and make a decision on which way the lines are going. So I've got my frame in place. So the top, bottom, left, and right of the space I will be using. I'm going to use this same image we're already familiar with. Now know that this is not a contour drawing. I am comparing all of the lines that I put in to the edge of the right-hand side of my image, I've got a red frame around that now to remind you that that's what's going on. So it may look like I'm doing just a simple contour drawing. Maybe even let's say a semi blind contour drawing. But it's not really that at all. I'm comparing everything. So as I come along the top here and do the head and then the left hand side of the face. I'm comparing that angle of the face to the left hand side of the frame. So having that straight edge there helps me to relate that angle to it. And the negative space would be everything on the outside edge of our subject. So this again is a very simple subject. We're not dealing with a lot of interior negative spaces yet. But I wanted to start simple so that you can understand how a simple subject like this still has negative space around it. Now I'm not going to shade in everything that's negative space because there's a lot of area there. But know that everything outside of the image up and to the edges of the frame is all the negative space. For the next demo, I'll do something a little more complex. So I have a couple of figures here. Looks like a mom and child walking on the beach. I also have some interesting reflections and the water, i will start with the boot or the leg on the left for the lady. And again, comparing that to how that angle relates to the left-hand side, that frame at the figure, at the little boy or girl there were closer to the lady or maybe even overlapping, then I could compare the angle of the leg I'm drawing now to the angles of the figure of the boy or child, I should say. So that's just something we can do. But since that figure so far away just makes more sense to relate everything to the edge. As I draw the leg on the right. Basically I'm comparing that to the lag on the left. So that's sort of inverted v and between the legs and then. I have the right hand side of the frame. So I can relate either to the edges within the figure. So inside the legs as I did there. Or I can relate things to the edge of the frame, which I have done many times so far in this negative space lesson. Now for the little child, I can again relate everything to the edges. So how does that bent leg relate to the bottom edge? The top edge. How does it relate to the straight edge on the left? How does the space in between the legs relate to each other? Again, these are all really good drawing techniques you're going to want to use and pretty much all of your drawings. So if something looks all for an accurate or, you know, maybe too long or too short, always go back to the negative space. Look at how much space is in between certain areas of your subject. You know, a lot of times that's going to help you correct many things. Now, this course isn't necessarily about drawing accurately, is more about exploring different ways to draw so that you know, there are many ways to use a pencil and paper. And all of this is going to, of course, help you create drawings that are more interesting. It's going to help your vision, helping you to better see your subjects, to see the space in between your subjects and things of that nature. For the third demo, I'm going to do some surfers on the beach on going to focus first on the surfer on the left-hand side. And I will remind you these are only two-minute poses, so I'm only using two minutes per drawing. But if you want to explore this on your own and you can use as much time as you wish. I'd just like to draw quickly because it helps me look and make decisions. I can always come back later on and correct it if it's something that just doesn't feel or look correct. So now working on the right arm of the figure, and I'm not paying attention to the contour so much as where do, does this negative space underneath the arm again, as sort of an a, the top of an a or an inverted V. As I come to the left side, I'm looking at the negative space, pretending that figure. If I were trying to cut that out with an exact DO knife, what sort of angle? What I need to cut in order to create the correct shape, an angle that the legs, arms, et cetera, the surfboard are moving. So this is basically, again, a way of seeing your subjects so that you pay attention to the space around the form, paying attention to the space and between areas of the form and so on. And this one, I connected part of the wave to the figure's head, just so we can kinda see certain values, certain shapes can kinda connect to each other and so on. So all in all, not too bad obviously with every drawing I've done so far and want every drawing I will ever, ever do this, never perfect. I'm just simply trying to explore, learn, find new ways to see and different ways to express myself and to get my subject down on the page quickly, efficiently. And if it's not accurate, then I've got a few tools up my sleeve to go back and make those corrections. So we're not just using or relying on one way to draw. We want a multiple of solutions, I should say, to go back to and fall back on if we need it. Let's do one more and I'll we'll just focus on the figure on the right. The arm is raised up, so I've got space and between the inside edge of the arm and the head. So I can kind of draw just that space alone. And by drawing that negative space alone, I can easily start to indicate the subject and the edges of the subject, which is basically what I will do right here. And I know I am probably starting to run short on time, so I'm just taking a little bit of extra time here to go over this figure here on the right. This is also one of those images where I could relate the negative space in between the figures. So if I were doing a painting that involve both the surfers, aka Look at this space and between the figures. They're almost Dawn the exact same thing. So the legs are bending in unison. There's similar curves and their body so that negative space running between them. Aka keep all that in mind. If I were trying to get my drawing down the page or they're just beginning to paint it. So that should do it. I will see you in the next lesson, which will be your assignment for negative space. 11. Negative Space Assignment Reel: Welcome to the negative space assignment real. And this one, we will do a series of two minute images. There are a total of six images, and their goal is to either focus on one object or even multiple objects. So if you have negative space in between the two objects, then that's what you can draw. Don't feel as though you had to complete every single element. And these images just pick an area of the image and start drawing negative space. Use the ideas and tips I shared with you about negative space and the previous lessons. And as always, there are the pen second notification when the image is about over and a new one begins. Here. The example of my drawings I will share with you in the next lesson. But first it's your turn, which begins now. 12. Robert's Take Negative Space Assignment: Welcome to my take on the negative space practice real. And this one I'll be using my brush and some burnt umber Inc.. Yes, you can draw with your brush and ink. You can draw with whatever you feel is, would be fun to explore. So you don't just have to use pencil and paper. Now, I'm focusing on the top of the jar, the glass jar, and then how that space comes around and connects to the little small and looks like a little milk pour on the right. And again, it looks like a contour, but I'm more interested, interested, and how the angles connect. So it's almost a right angle. So as that right side of the jar comes down and it connects to the top of the blue little milk, poorer there or whatever that can be, then it's almost a right angle. Obviously, there are some subtle curves involved, but I could almost use a right angle to get me in the ballpark. Alright, so that was fun. I also did the n-side negative space of the handle. Again, not perfect. I'm not a great drawer. I think I'm okay. I think I have a long way to go. If I want to draw accurately, I can't say drawing accurately as something that is important to me. But continuing to improve my skills, continuing to do exercises like this I feel is a good way to keep them strong enough to allow me to do this sort of painting I liked to do. Here. I'm focusing on the corner of the jar as it comes down, and then it connects to the eggs. So there's a small egg kinda all by itself. There's another egg off to the right. So I'm just looking at how the negative spaces between those objects. So this is an interesting image here. Everything is equally spaced from each other. But I think we can focus on some of the negative space. I think the objects are close enough to each other that we can focus a little bit on how they relate. So the first curve I added there was the edge of the pan, so the frying pan on the left-hand side. So there is a curve, it's really a circle. And then it, that negative space and between that and the tomatoes. So basically the blue background or their table top that it's on. That's what I'm focusing on. And again, not perfect. My tomato in the middle is a little bit small. So that should have been that tomato needs a little more volume to it. But, you know, again, I'm drawing with a brush so you're going to lose a little bit of your accuracy when you draw with a brush but not making any excuses. Like I said before, my drawing skills. I think our average when I'm on top of my game. But I think they continue to improve again as I add more and more skills to it and I, I spent time developing it. But again, for the style of art you do, you know you're drawing. Aptitude has to keep up with it. So if you're someone that draws and paints or desires to do that in a very realistic manner, then you need the drawing skills to back that up. Now I'm doing a little negative space in between the tomatoes. There is almost kind of like an hourglass figure or shape in there. All right, now let's move on. I'm going to talk my way through this a little bit more than the previous ones because I feel like with negative space, it's a little more than just Dawn a contour. So we have two. Maybe I need to explain things a little bit more than what I did in the past. So here again we have several objects. I'm going to focus more on the bottles. So we have two similar bottles on the right-hand side. So I'm looking at the space in between the bottles. One bottom of the bottle comes down a little bit lower than the other. I'm trying to resemble that. The yellow bottle. The space in between that and to the left would be the little like ice shadow or makeup kit. I've got my little line in for that as well. And just comparing, comparing the height of things, comparing the shapes of things. And then of course, how they all relate to the edges with the bottles or standing upright. So we tend to get more perpendicular lines, things that are somewhat very vertical, especially for the vertical lines. And we've got a lot of curves in that as well. So the bottoms are very curved. The tops have a lot of curving action to it and is looking at the space in between. And that's the name of the game here. And in the end, I just want to be more sensitive to using negative space to help me draw a little more accurately. I now, again, we have a very complex image. Lots of things to choose from. I've got the cup, so we have a white cup, almost dead center, and there's a handle on it. So I am paying attention to the little negative space of the handle. There's a garlic bulb in front of that. So there's a little bit that cup or that handle. We don't quite see the whole thing. And then the handle. Also, there's negative space in between that and the parsley. And the back, and then we have some asparagus coming up out of the cup. So those are the that's the area I'm focusing on. For this, again, I'm not doing the tomatoes, peppers, or the lemon. It's more about the the white cup and then the edges on the asparagus. And they're very intricate. Enough. Our painting, asparagus or approaching a painting, a negative space exercise like this. And again, for the style of art I do, it would probably help me to express it a little bit better. It will help me to be a little more sensitive to where I need intricate edges and where I can go with these big curved edges. So it's kind of interesting. We look at this negative space, all of the little subtle changes and the parsley as opposed to the big curves of the handle. Anyway. Now we've got a, another subject again, lots to choose from. I'm going to focus on the space in between the horse legs. I'm going to look more at the the white horse is closest to us. And try to get something that resembles the negative space in between the tail and the leg. And I'm sorry, I'm doing the brown horse said white, but it is going to be the brown one. They're very, very similar. I think they're basically in the same position. But the brown horse has a little bit different movement in the tail. And I think that tail is a little bit longer. So now moving up through the negative space in between the horses legs here. Again, trying to be as sensitive as I can to all the little angles that are going on. And that's the, these are interesting things I think that would be, that could be included in a painting. And it would help describe the shape, described the form, et cetera, to the viewer. So a thing just paying attention to negative space in general is just a great way to discover a lot more, especially the subtleties of your subject. So now I've got the horse's belly coming down there. And that's not bad. I mean, for what I'm trying to do and what I'm after. I think that's a good exercise. Here. I'm going to work a little bit with another feature, but I obviously I ran a time there, so we'll move on to the chicks. This is a very complex image. I'm going to focus on the chick sitting in the chair or standing in the chair. And we have all of that would work going on. So the negative space in between the posts on the chair and how that interacts with the curve. On the chicks head, then so on. So I will queue up some music. You kinda know where I'm at with this image. And I let the music, music bring us to the end of my final demo here. And then I will see you at the end as I show you my finished piece. Okay, well here's a look at my demo art. Let's look a little bit of extra time on the final image. But all in all and I, but not bad, I think I'm certainly more sensitive to negative space now. And let's go on to the next exercise. 13. Upside Down Drawing 101: Welcome to upside down drawing exercise, perhaps one of my favorite and this group, pretty straightforward and self-explanatory. What we're going to do is hang upside down and draw, no, just kidding. We are going to take our photo a reference and flip it upside down. When you do this, several things happen. As I draw an upside down coffee cup here. Know that you're basically seeing things in a completely different perspective. So what happens is your eyes and your brain. More importantly, everything gets familiar with routine. So if you're used to seeing your images a certain way, then we automatically assume we know what we're drawing and we know what's going on. And when we flip it upside down, again as a completely different perspective, or now looking at our subject differently than we do. I would say, you know, almost a 100% of the time because they're not many of us walk around upside down. So I'll, we're breaking away from literal thinking by basically drawing our subject a completely different way. So having said that, this began with our subject, I've got a couple of images picked out here. And I'm going to focus, use the same images because I feel like that's going to give me something to go back and relate some of my other drawings to. So when we get to the practice real. And when I finished this course, I'll have all of these demos. And it'll be fun to see compare like an upside down drawing too, like a regular drawing or something I've done with the subjects and mine. So right away you can see you are looking at this two times. Real speed. I wanted to speed through it a little bit quicker. I don't think the concept of upside down drawing is anything that is very hard to comprehend. I'm using the same tools that we have talked about here. I'm using contours on basically drawing using the semi blind contour method. So I'm looking at my subject, I'm drawing and I'm basically gone back and forth, always sensitive to the angles, I'm always sensitive to the edges. I'm also thinking about negative space. So looking at the space between her legs and so on. As I do the small figure here, know that it's the same process, but I'm seeing it in a much different way now. And you'll be surprised at how well or how different I should say you see angles when you see your subjects this way, I'm drawing your, your subject as is turned upside down. Isn't anything new under the sun? I think if you've taken some drawing classes or perhaps even some courses that explore some creative drawing techniques. You're familiar with it. But if you're not, you definitely want to try it. And if you've already tried it and you are familiar with it, you want to remind yourself that this is a very, very effective tool. Because again, you're drawing faces, you're drawing ears, and you're drawing the, the skull. And you're doing it in a way that you're not used to seeing it. And it's really, really interesting because you're going to focus more on the shape itself. And that's the key. It's so easy when we draw to only focus on the subject. So we say, okay, that's a man sitting on the beach. Then that's what we start to draw and we break away from what's important. And that's finding abstract shapes, finding things that are not necessarily so literal. But know that when you do these exercises on your own, always think about what we've done to help to get here. So that's the blind contour, semi blind negative space painting. So we're basically build, these are all building blocks. And as we do the upside down drawing, we're adding those to this as well. So we never want to forget this. These exercises can be done individually, which is how we are learning them. And then of course we can combine them and always keep each one very fresh in our minds and hopefully use them as a routine on a, on a regular basis. So let's flip this thing upside or right-side-up, I should say. And better yet, lets just go ahead and look at my photograph that I took. So there is the image as I painted it, as you were able to see me create it. And now I will flip this one so that you can see my actual drawings. If you were to flip it over and say, okay, well, let's see how that looks. When I see it in a normal position. So there it is. And in the next lesson, it will be an assignment. So you can put this to the test yourself. 14. Upside Down Assignment Reel: Welcome to your upside down assignment or real. And this one, and you will do a series of two-minute images. There are a total of six. As with previous assignments, focus on one object. If you have time, you can add another. Use the tips shared and previous lesson about drawing upside down has always there will be a 10-second notification. So when you hear that, begin to wrap up and prepare for the next one. If you're curious what an upside down exercise assignment would look like, here is a peak at mine. So let's get started with the first image now. Congrats, you are finished. 15. Robert's Take Upside Down Assignment: Welcome to my take on the upside down practice real assignment. Let's get started with the first one. As with you, I'm looking at all of my images upside down. I am basically using the same techniques as I've mentioned before that we discussed in the very first lesson, which was blind contours. Lesson to me really sets the tone for the entire other assignments and exercises because it's really being sensitive to the contours, to the edge quality, which way the lines are moving using the clock method, using the comparison to the horizontal and vertical lines. So those are the things that I'm curious about. I'm also very cognizant of negative space. Trying to pay attention to the space between the legs, which angles are moving away from each other? How does that negative space, the angles of the legs relate, you know, and that sort of thing. So thinking very abstractly is the key, I think for all of these exercises. And so that we break away from thinking about the actual subject that we're drawing. Which in this case is a man walking with a briefcase. And that's the key. You know, I think when we're drawing for soul fixed into the subject, our brain takes over and says, alright, you're going to draw or paint a still life with a bottle, jar some fruit. And we get away from what we really need to be doing as an artist. And that's thinking more abstractly, paying more focus to shapes, planes, and how certain things compare to one another and trying to find the abstract qualities and when, when they are not there, then we have to search harder and create them. And there's other ways just besides drawing that we can do that. We can do it through value tone and things of that nature. Have quite a few courses. One of those is landscape painting fundamentals. I talk a lot about connecting values through different parts of our subject so that things connect through color and value in an abstract manner. So be sure to check out some of my other classes where I elaborate quite a bit on, on things like that. All right, I think you get the gist drawing upside down and it kinda where my thought process is. So let's cue up some music for the rest of this demo. And I will see you at the end and we will have a look at all of my drawings when we're done. Well that's a wrap for my upside down assignment. One. And this one, when we of course turn it right, is what the subjects are actually look like. Things are opposite of Horus. My man walking in the bottom right was the first one. But when you see that, that's pretty interesting to note that you can draw things really well upside down sometimes even better. Because again, we're breaking away from what our brain is used to seeing. And when you're drawing upside down, it's very hard to relate to some of the details and specifics of your subject. And that helps you think more abstractly and believe it or not, it can improve your drawing quite a bit. 16. Opposite Hand Drawing: Welcome to the lesson. And this one, I will do the opposite hand exercise. For those of you that may have noticed I am right-handed. So for this exercise, I will be drawing with my left hand. I will also be using my paintbrush and a little bit of water color. So drawing with the opposite hand takes a lot more control and thought. And the thought really goes into understanding the line. And again, because you're drawing with the opposite hand, we tend to break away from traditional thinking. And again, that's what all of these exercise or they're designed to do to get us away from comfort. Things that we're familiar with. And when we're in that zone, we tend to think a lot more literally. We tend to overlook subtleties. Because our brain says, okay, I've done it. I've seen a rooster. We, maybe you drawn plenty of rooster's. So you tend to take over and do things that you have already seen or perhaps take for granted. So when you're doing opposite hand drawing, then obviously your, your brain is focused on something completely different. And again, it's almost are forced to pay closer attention to your angles. Again, as I've mentioned before, I'm always building off of the very first blind contour lesson. Thinking of perpendiculars, no right angles if they're there at no, compare things to a right angle and think, okay, is that greater or less than a right angle? Is a vertical, is it horizontal? How did they compare to a perfect horizontal and vertical and so on. Also using the hands of the clock, which is a very, very good tool. So anyway, you can do a lot of interesting stuff or can with your opposite hand. So if you're left-handed, obviously you will be drawing. And with your right, if you're right, obviously you're drawing with your left. So that is my first example there. I will do something manmade here. Something that has stiff lines and right angles. And it's good to explore subjects. I think we all get into a comfort zone again. With subject matter, we tend to gravitate towards sayings which is great. There's nothing wrong with that because I think that gives you familiar equity. But I think the actual learning and the evolution of your art and it really the strengthening your drawing and things like that comes in. When you start to diversify a little bit. You may not enjoy drawing figures. But figure drawing can certainly help you with your still-life or your landscapes. And then of course, you may be a figure painter. And you may find that going over to landscapes and is drawing them. Could help you in some way with your figure painting and drawing. So bounced around a charged to incorporate a lot of subjects in this class for that reason. So here's a look at my left hand drawing, really satisfied with a loved the edge quality. And I think there's a lot of sensitivity there, two angles and edges. 17. Opposite Hand Assignment Reel: And welcome to the practice real, using your opposite hand. As with the other ones. These are two-minute exercises, so each image is two minutes long. A total of six images focus on one object. If you have time, you can add to it. Use the tips shared in the previous lesson about using your opposite hand. Again, a 10-second notification when the image is about to end and when you can start to prepare for the next one. Here is an example of my left hand assignment. So that should give you a visual on what to think about, and I will share that with you in the next lesson. So good luck, have fun. First image starts. Now. 18. Robert's Take Opposite Hand Assignment: Welcome to my take. On the opposite hand practice real. I'll get started with the first one. Working with the left hand is pretty self-explanatory. As you know now, I'm very sensitive to relationships, as I've talked about before. Horizontal, vertical, negative space, everything that we've worked on up to this point, trying to build on that. As I go. Working with the left hand is something I need to do a lot more often. When I was putting this course together and thinking about different drawing exercises that were a little less traditional. Oftentimes even forgotten about. I thought the left-hand would be very challenging and good because I think it, it brings us back to the core of what this course is all about. And it's about just trying things that are new, fun, interesting, and all the while. Underneath all of this, we're building a better connection to our subjects and we're hopefully are breaking away from the literal thinking and thinking and presenting ideas that are a little more abstract. Perhaps your art may be really loose and expressive like what I do. But I can tell you drawing, being sensitive to negative space edge quality, so on. All of those things are still part of the art. And the more you understand them, the more you can incorporate those qualities in your work. And whether, you know, present all of the edge qualities and exactness. Or perhaps you're like me and you just wanna get the gist down. I think, you know, the drawing is at the core of what you do. And the more you learn about it and explore it, the more interesting painting become, because painting is basically drawing, but you're doing it with a brush in color. So I will go ahead and queue up a little bit of music here. I think you get the idea again of, of what's going on. You can check it out fast-forward, watch it to Tom speed, whatever. But just know that, you know, the thought process for me is not drawing pans and pots and fruits and animals. It's more about finding those edge qualities and being sensitive to negative space and things like that. And trying to really break away from what I'm actually drawing and just thinking more about lines and shapes. Alright, so here's the music and I will see you at the end as we would look at my finished demo. Oh, okay, well, that is a wrap. Here is a look at my work. I have to say pretty impressed with the quality of the work. But more importantly, I think I learned a lot from this. I was paying a lot more attention to form. How certain things I guess relate to form. And just thinking more in a three-dimensional aspect. And I'm not sure if everyone kinda got the same thing, but when we're looking at a photo, reference is very flat as 2-dimensional because it's on a flat piece of paper. The computer screen is flat. Everything we look at on the computer screen is flat. So we're trying to create that sense of three-dimensional form on a flat surface can be challenging. But I was thinking a lot more about three-dimension and trying to understand form in this exercise, I will see you guys and the final lesson. 19. Straight Line Drawing 101: Welcome to the straight line drawing exercise. With drawing straight lines, we are basically going to use nothing but straight lines to draw, so they are no curves and this sort of exercise. So we're going to interpret curves through a series of straight lines. So here we have a banana, a very curved subject. I think it's a good example to start with. So as I'm drawing this, I'm interpreting and using lines to draw all the curves. This has a much more angular and dynamic look to it, as opposed to using a curve line. Again, when I'm drawing these straight lines like this, I'm very aware of the edges of my image. So remember the four edges top, bottom, left, right of the photograph. When we look at our subject and we're just looking at the contour, the edges of it. All of those edges relate to the horizontal and vertical edges of the photograph. And in such a good tool and it's there for you all the time. The only time you don't really have that is when you are drawing from real life. But with photographs, we have that in front of us. So always be sensitive and at least relate curved edges to the straight lines on the photograph edges. And I think you're going to find yourself of a lot more. Well, let's say you'll you'll be more in the ballpark on your, your drawings. So there was my banana and I'll bring back an image we are already familiar with. We've done this several times, but focusing a lot more on objects that have round edge quality to them. So the squeeze or the bottles on the right-hand side. So we had a little dropper thing happened in there. So trying to interpret that through a series of straight lines is what it's all about. So I would avoid things like the makeup kit towards the back there that's very square, looks like a little mini laptop. Those things already have straight lines to them. So whenever we practice this as good to pick subjects, they have curved edges, drawing faces, anatomy, or just figure drawing in general, as a good subject to explore when you want to work with straight lines. But the end result is a much different. When you, when you're using these angular lines via the subject is, has this more stiff, almost rigid look about it. And this is interesting too because, you know, as an artist, we're exploring all the time hopefully. And we're, and we're not settling into a routine and a rut where we're don't think systematically all the same way all the time when we do that, your art is going to be get to become a lot more stale. It won't become interesting to you. There's nothing really knew going into it. It's kinda like eating the same thing every day. So even if you love lasagna, if you had to eat at every single meal, every single day, you're going to get to a point where it just becomes, you know, not very appetizing and doesn't fulfill you. I do think art is very similar in that way. So all of these drawing exercises are designed to introduce you to things you may have tried before but forgotten about new things. And to visually and physically see if there is a connection to what you're learning and what you're doing. Drawing with straight lines is a different energy, has a different feel than using curved lines. You may like that feeling. So here I'm doing a little makeup Raul makeup kit there on the left. But anyway, you know, so it's important to pay attention to what feels good but looks good to you. And if things, if you're finding those connections by your here, then that's great. You want to certainly take those and incorporate it in your drawing routines. So again, more angular and harder edges. And things tend to play a little bit better with the top, bottom, left, and right edges of the art. So there is the demo and the next one, it will be your turn to give this a shot. So let's get started with your final assignment. 20. Straight Line Assignment: Welcome to your straight line assignment real. As with the previous assignments, each image is two minutes long. There are a total of six. I encourage you to focus on one object. Do not try to draw the entire image. Use the tips shared in the previous lesson about using straight lines. There is a 10-second notification when the image is about to end and the new one will begin. Here is a look at my finished straight-line assignment. So that will give you a good visual to think about. And your first image begins. Now. Finished. 21. Robert's Take Straight Lines Assignment: Welcome to my take on the practice real using straight lines. For this one I'm using a graphite to be. We've got this very familiar subject here. And again, if we look at that, there are a, a combination of straight lines, curved lines that make up this figure. Obviously I'm using all straight lines, so everything's getting interpreted. Occasionally I will lose my way. I will have to say, oh, I got to use a straight line. I had to go back and correct. And so on. As I've mentioned before, very sensitive to the edges of the image, how things relate to the vertical and horizontal. Negative space contours just using the clock method. All of those lessons are fresh and my brain, and I'm trying to incorporate all of it as I go. So good stuff here. And I think for me, I know gone through all of these different drawing exercises was invaluable. Helped me a lot. I'm going to probably incorporate more left hand drawing. I like using straight lines and my work at something I use all the time. I tend to interpret things more with a rigid straight lines, I think is more dynamic. I think it plays a little bit better with the angles of the edges of the canvas. Again, top, bottom, left, right. And anyway, you may be more prone or you may favor curved lines or maybe you like a series of both. But anyway, I thank you. Again, get the gist of what's happening here. I'm going to queue up a little music. If I, I will see you at the end of this demo and we will recap my assignment. Have a look at the art work, and then we'll go from there. Right. Okay. Whatever. Okay. Okay. The war is like. Okay. Wherever. Okay. Okay. Right. It's good. Well, all right, that was a lot of fun. Using straight lines is something I'm very keen on. Love it. I just like the feel of the work when I see the straight lines that just reads better and my brain. So something that this exercise taught me is to get better at it. Again, I like using them. You may be more apt to use curved lines are just appreciate drawing them more. But for the straight lines, I think this helped me strengthen my ability to interpret curves. So at something I'm going to definitely work a lot more on and do as often as I can. So that covers all of these lessons and I will see you in the recap. 22. Recap & Projects: Well, that brings us to the end of drawing exercises. Hopefully you are able to connect to some of these exercises, if not all of them. I encourage you not to discard these lessons that you learned in these exercises, but you build upon what you're already doing. One, latch onto two or three that you are really keen to and then incorporate it in your drawing activities and painting activities for several weeks and see where it goes. These exercises are intended to do and to forget about their intended to do over and over and over again so that you begin to get better at drawing. And of course, seeing vision is a huge part of what you're, you do as an artist. It's important to see your subjects not only accurately, but very abstractly. To break away from the literal is always a great chore and something challenging to do for most artists. Even when he can do it, the tendency is to get back to it. So you have to do as many exercises and try as many new things as possible to break those habits, to see abstractly and to create your subjects more through shape and design versus copying what you see and what you think you see. So I'm going to thank you guys for taking the course. I appreciate your support. If you have any questions about any of these lessons and feel free to reach out. That's what I'm here for. Always checking my messages. So if you have questions, I'll be happy to help you out as far as he projects and assignments. If you did not complete those, then you only are getting about 10% of what you could be learning from this course. I highly encourage you to complete all the assignments, not only once, but several times, so that you get the most out of your online learning experience. Thanks again, and I'll see you guys. And the next one.