You Can Draw from Life! Essential Skills and Exercises | Ksenia Annis | Skillshare

You Can Draw from Life! Essential Skills and Exercises

Ksenia Annis, Figurative artist

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
12 Lessons (1h 51m)
    • 1. Introduction

      1:24
    • 2. How to start

      15:11
    • 3. Doodling practice

      3:46
    • 4. How to shade

      11:47
    • 5. How to draw perspective

      7:12
    • 6. How to draw perspective - demo

      9:40
    • 7. Light and shadow

      20:56
    • 8. Going from general to details

      4:28
    • 9. Going from general to details demo

      20:58
    • 10. Drawing what you see

      8:59
    • 11. Class project

      1:08
    • 12. Useful tip: blending with the tortillon tool

      5:02

About This Class

Drawing is an important part of art creation process and an art form in itself. Drawing is also fun and relaxing thing to do. To start drawing you don’t need much – just a pencil and a sheet of paper, but you do need to practice to be able to draw exactly what you have in mind or what you see in front of you. The goal of this class is to give you skills to draw any subject without following some formula or mindlessly tracing photos.
I will break down the drawing process, identify skills required for each step and show simple and fun exercises as well as illustrate the whole process with demos.
If you’d like to learn not only what skills you need, but to also understand why you need them, this class is for you. We will only talk about the most important stuff to help you start drawing without information overload.

Transcripts

1. Introduction: Hello. My name is Sonya, Honest. Welcome to my classy. You can draw from life essential skills and exercises. Drawing is an important part of the creation process. It's also fun and relaxing thing to do. Doodling, sketching a contended drawing and comic book art. These are all various types of drawing to start drawing. You don't need much just a pencil initiative paper. But to be able to dry exactly what you have in mind over to see, you don't need to practice drawing from life. This glass includes demonstrations and exercises. I will explain line and tone. Drawing the rules of perspective as well as light and shadow. Well will also explore the thought process that leads us to successful results. If you would like to learn how to draw from life, well, you already drop a desire. Better results, this glasses for you. We will cover all the important aspect of realistic drawing without brain overload. Let's get started 2. How to start: Hi. Welcome to my class. You can draw from life essential skills and exercises. Let's talk about the skills you will need to create realistic drawings. The ability to draw from life basically involves two skills. Hand eye coordination to master. This skill will demonstrate several very simple exercises for hand eye trading. Training your eye to carefully observe and analyse your real life subject. We all know what things look like in our first inclination is to draw what we know. I will explain later in this class how to train your eye to break up your subject into simplified shapes into achieve precision and you're drawing. Some theory will help us to master drawing as well, like knowing about perspective and how light works. And we'll talk about that later on. Throughout this class, I'll be doing my demonstrations in the sketchbook with £65 paper, which is just six grams. Sketchbook is not a requirement. You can just use some newspaper and for initial exercises, maybe even some printer paper on subscript paper. As long as it's clean on one side and it's not line door, it's not graph paper. It's actually better to start practicing on some scrap paper because then you won't feel like you're ruining a piece of paper and you will practice more. The most popular drawing tool is a pencil. The letter B marked on the pencil means that it's soft, and it's meant for drawing the higher the number before the letter. The soft of the pencil will be soft. Pencils are better for drawing because that will allow you to get more very marks. And the same thing goes for races. As for pencils, the softer the racer, the better. It works for drawing. And, of course, since soft pencils were out pretty quickly, we will need a pencil sharpener, you getting also use a mechanical pencil. Just make sure the thickness of it is marked as 0.7, some of them my 0.5. And that's way too thin for drawing, and it will break their easily every time you try to press on it. There are plenty of other drawing tools, all kinds of felt. It pans markers, for example, made by Sharpie. There in pans, which are grateful sketching and my favorite are water soluble pencils. The very personal, especially if you're doing a tonal droid I would recommend started with a regular pencil and then gradually trying your things and expanding into different materials as a promo. Confident. And here's another tool. I used quite a bit. One drawing. It's called dry cleaning Pad. It's a little mashed bag with some rubber shavings inside. It allows you to lift off some of the graphite from your pencil, drawing without smudging it. And to get rid of all those shavings, you might want to use some sort of a soft brush. This fund is a special draftsman, fresh but in yourself. Brush will do when drawing. It's better to keep your surface at about 30 degree angle, not strictly horizontal vertical. That way you won't get visual distortion off what you're doing, and also it will be easy for your hand to slide on the surface. Your hand movements will be more natural That way. I just use a box of pencils or some small container or whatever you have to put on the your catch bad. Or if you're drawing on sheets of paper, just use a piece of carport or, if you have one, drawing board will be great. Let's start with practicing, drawing some straight lines. Notice that I'm holding my pencil little ways away from the tip, or so I can see what I'm doing. And I'm not Clinton in My fingers are holding it firm, but the rest of my hand is relaxed. I also turned my sketchbook at approximately 45 degree angle because I want my arm toe freely Move in an arc. I'm drying with the right hand, but if you're drawing with your left, you will obviously do everything in the opposite direction. And I draw the line across the page, trying to go as far as the page allows me in the 2nd 1 and my task will be to draw it parallel to the 1st 1 with this exercise, were not only exploring our materials and training our hand were also training our I to judge distances and angles. Now let's draw some lines perpendicular toe what we have. I will have to turn my sketchbook in the opposite direction to make it easier for my arm to move. So here are a few more parallel lines and we can keep going, and there's some more allies that getting shorter, but that's good practice, still trying to connect some dots on the page, and you don't have to follow this Exactly. You can do your own design. The point here is just to practice. Join some straight lines. I hope you understand that this is not the one time exercise for Best and Festus results. You need to find time in your schedule, even just a few minutes in. Practice this every day for a while. And believe me, you will notice a huge difference in your ability to control your hand in our next exercise will be to try and vary the pressure on the pencil. That's why it's important to have just a regular pencil, because if you use any mechanical long, you can still do this exercise. But it will be a little harder because the tape is so easy to break. So again, I'm just drawing some parallel lines, and I'm very in the pressure on the pencil and we'll do a few in the opposite direction. And again, I'm called in the pencil firmly, but I'm not clenching my fingers. Next thing we need to learn is how to drop curbs. This exercise is very creative again. I'm turning my sketchbook a 45 degree angle just to make it easier for my hand to move in on Brian various curves, very in the pressure on my pencil and vary in the direction in which I'm going. I'm also trying to go in the more or less parallel fashion, and I'm trying to keep my curves about the same size because that's what I'm training my ability to control my hand and also my I to judge distances and angles. Okay, and with cars, we don't even have to go in the line. We can maybe do a little composition, something botanical, I think. Well, good that rebel T resembles some fines and leaves and flowers. You can try following my example or just come up with something on your own, and again, the more you do it and more regularly you do it, the better you will become and the faster you will learn. I find this exercise very relaxing, so I usually sent in front of the TV and just doodle some curve, some leaves and flowers, and that helps me to keep my hand eye coordination in my hand control in good shape. Another good exercise is to practice drawing geometric shapes. We will start with squares, and the goal of this exercise took not just practice, drawing straight lines in one fluid and relaxed motion, but also to train our I to compare legs. After I draw the top side of the square, I tried to make the vertical lines the same length as the top. So I get a square and not a rectangle, so we will do a few of those in. We'll try to make them the same size, and then the next step, I'm going to draw some rectangles that are the same with as two of my squares but the same height as the squares. You could start with the little smaller squares. I'm just drawing this pretty large because I want to be able to see it. But you can make some small squares and fill up maybe half a page, and then he'll have a page with Cankles. In my third role. I'll do maybe like a square and 1/2 but the same hide is the initials. Players in another good exercise would be divided in line into equal parts. I'm doing halfs, but you don't have to. You can go ahead and 2/3 of waters. It will be a little more difficult, but go ahead and try. So what I'm doing here on finding the middle, just using, you know, visual estimation. I'm not measuring anything. Whether alert, that's not the point of this exercise. And I'm going to connect the points with some diagonal lines. And that's how it practiced important scale of dividing lines into equal portions. And now we need to practice drawing circles in ellipses to draw a circle in one fluid motion. We need Teoh, draw it in the air first and then put our pencil on paper and repeat that motion one more time. If they don't look very around at first, don't give up. Just keep practicing. You see that once I started mine are a little crooked, but they get better with practice and I'm going to do some concentric ones, just a practice keeping them parallel to each other. And I'm going to do some ellipses, some horizontal ones and some vertical ones with ellipsis, it's important to be able to control their thickness how open they are. So I'm going to practice this some will be a little flatter and some will be a little more open. And I'm doing just a few. But you start smaller and keep going until you feel a page or two with circles and ellipses . And I would like to emphasize again the importance of holding your pencil a little ways away from the tip so you can see what you're doing, because if you hold it too close as you see your hand is covering the tip of the pencil and the drawing, and it's hard to know what you're doing. So you start leaning forward or to the side and your muscles claims you don't have the freedom of motion with your hand anymore. In a Children you're drawing because it becomes more stilted and forced. Where you hold your pencil will also affect your ability to drop curved lines in here again , it's important to see what you're doing and also to move in a relaxed and controlled manner . I noticed also that my students sometimes lift a pencil when the drawing and kind of go over the same spot several times, which is fine if you're trying to just verify detail. But train yourself to draw in one fluid motion in controlled but relaxed manner. Do 3. Doodling practice: doodling is the best way to train your hand eye coordination without the pressure of getting results and doing it right. Relax, clear your mind and draw mix of shapes that were practiced earlier. You can start in the center of your page or in the corner. Whatever works better for you, your movement should be smalls and relaxed. Avoid hair in lines trying to find 5 10 minutes each day to feel a page or two with your doodles, and you will notice a quick improvement in your ability to control. Your hand can also be more presentational alarm drying animals, but you don't have to. You can draw anything. Cups and saucers, flowers, fish, food. The drawing is what comes not. The subject actually might be a good idea to switch your subjects from time to time so you don't get bored with doing the same thing over and over again. E E. Yeah, if you're drawn, looks like it was done by a child like mine does. Don't worry about it. It's not a competition for the best judo. It's a learning process 4. How to shade: when we work with the drawing will have to elements of artistic expression. The 1st 1 is line, and the 2nd 1 is tone, also known as shading. Here is an example off the same subject, the drunk just use in lines, just using tone and using a combination of line and tone. I start with very light pressure with light strokes and then to achieve darker shade Will, first of all, very the pressure press a little harder, so you will get a doctor stroke or the next step would be to add strokes at a different angle. Then, if I need a little more depth, a little darker shape. I'm going over the second time at a slightly different angle, and that allows me to blend the strokes together. And there is another technique, which is called cross hedge. It's mostly used for like pending drawings, because with pen and ink, it's harder to very pressure. So you basically very the distance between the strokes. And then, if you need darker color, you go a 90 degree angle and across hedge. It's a valid method to use with pencil as well. So let's see how that looks. I'm gonna turn and and if you must drugs it 90 degrees. This will actually be good for showing what textured objects. If you have, like a bar lap or a straw or something like that, that will work really well. And yet another method would have is more painterly When you treat your pencil is basically a paintbrush and you don't lift it to create separate hedge. You just go over your paper in the one continuous motion. If you need a darker shade, you just go over the same spot again in the same manner. And if we need to correct our shading, if we went too far and put too much cholera on too much tone, I would recommend not years in an eraser. My favorite is dry cleaning path. You squeeze it over your drawing and get a little bit of rubber out, and then you gently rob that spot, and that removes the graphite without damaging your hedge. Appreciating practice. Let's draw some geometric figures, just some squares or rectangles. Some circles. We can divide them up and do whatever we like. This will be also good practice for line work, and then we will shave them. Don't worry about which side is lighter, which said his darker doesn't matter. We just want to teach our hand to move in a certain fashion and toe practice trying doing different techniques. Try separate strokes as well as continues painterly style, and see which one works better for you and make those geometric objects. Couldn't BDM size maybe 23 inches square, which would be five seven centimeters? Don't go too large, because then it will be hard for you to get a smooth motion. And don't make them tiny because then you won't be able to see the results and compare the best way to practice shading and apply and tell him to. Your drawing is to start with some natural forms. For example, flowers. I have a photo that I will be using for reference. Here. You can use the same photo or find your own. Or maybe if you have some flowers handy, it will be best to draw from nature. Your movement needs to be very relaxed and natural because Donald drawing it's kind of like painting, but with the pencil. So don't restrain your hand. Just let it move freely on the page varying the pressure to get lighter or darker tones and to figure out which areas we need to shade. I'm going to squint while looking at my reference photo for while looking at your subject. If you have a general life that will help you eliminate small details and you will see lighter and darker shapes. And that's what we're going to put on paper. And when drawing flowers or trees or something from nature, we're not doing a scientific mechanical drawing. So if you're shapes are a little different from what you see, or you feel like you want to eliminate some leaves because the register Mahaney in front of you. It's your artistic license to do so. You main goal is to do what's best for your drawing, and as an artist you have the choice and notice, even though I'm moving my pencil around the drawing a little bit. For the most part, I keep it on the page, and I just keep going in one fluid motion covering the area that I want to cover. - And I made in a few darker details to my flower shape, defining its outline and dark middle. But I'm not going full blast yet Because I want to keep my part or balanced Moving on to the second flower. Never know what had my flowers very likely outlined before I started shaving them. I kept looking at them. As I draw up and I verify the formas I go and I have some grass in the background. I'm just going toe likely indicated with some tone. It will actually help my lit areas pop out a little more. And here I'm working very, very likely. I just want some, like, tone in those areas. Yeah, Okay, Now we need to take a few seconds to assess our drawing. So I'm gonna put down the pencil and look at what I have, and I think it looks fine. Except everything is a little bit this same. I need to add a few darker accents, which I'm going to do with the softer pencil. And I'm squinting while looking at my photo, my flowers, and I see that some areas need to be along darker. So now is my chance to add some tone to those areas and is a mission before the main thing here is not to put the same tone everywhere. So I'm very selective. What areas on darkening that will be the centers of the flowers and the ages of the pedals that are far away from us. And I'm also going to add a little definition to the leaves and stems, and you will see once I start doing this, they drawing really comes to life and becomes more three dimensional. And I think that's enough. We need to stop and sign the drawing and let's see the final result. 5. How to draw perspective: to represent a three dimensional object. Realistically, on a flat sheet of paper, we draw it, following the rules off perspective and then you shading to show light, shadows and sometimes texture. We will talk about light and shadow in a live video, and right now let's figure out what is perspective drawing. It took the humankind menace, say insurance, to figure out how to draw perspective. So don't feel bad if you have a little trouble understanding it. At first, the first artist to start drawing figures and buildings and perspective was an attendant, artist and architect, Jordi Bandana, who lived and worked at the end of 13th beginning on 14th century. His first attempts were further developed and refined by the Florentine architect Filippo Brunelleschi, who used it in his architectural drawings and paintings. The main thing to remember when drawing things in perspective is that objects get smaller as the distance between them and the viewer increases until they become just a doctor and vanish at the intersection off perspective lines and the horizon or eye level. That dot is called vanishing point, Depending on how the object is located in relationship to the artist, drawing it perspective, drawing of which object will have one or two vanishing points. As we see from the schematic for two point perspective, that principle remains the same. The objects get smaller as they get further and further away from us, as the Butor and the perspective lines that are shown in Blue slope towards each other and intersect in the vanishing point located on the horizon, or the line off site, which is shown with red. The distances between the objects get smaller and smaller the further away they get from the viewer. Only horizontal lines will angle towards the vanishing point. Vertical lines will remain parallel to each other unless you're drawing a skyscraper or a very deep well. In those two cases, you will see the effect of the third vanishing point circles and perspective will become ellipsis. The easiest way to figure out how to draw them is still inscribed them into squares drawn in perspective, let's look at some photos and drawings and analyze them in terms of perspective. This first photo is an example of very simple one point perspective. I highlighted the lines of the pier with blue, so you will see that they clearly go into one vanishing point located on the horizon, which I highlighted with red. Also note that distances between those concrete panels off the pier did finish with the distance, as well as the distance between those little post on the right hand side that I also highlighted with green. This example of one point perspective is a little more complex because we're inside on arcade in Bologna, Italy, blue lines of perspective lines disappearing into one vanishing point in the distance, located on the line, off horizon or line of eyesight, we should say in this case, since we're in an urban environment and green lines show diminishing distances between the panels off the sidewalk and between the columns that gets smaller and closer together, the further away they are from us. The vanishing point in one point perspective doesn't have to be right in front of you or even on the drawing. Here is an example where the perspective lines go towards each other and towards the horizon, but the vanishing point is off the drawing. Let's look at an example off two point perspective, because I wanted to take a picture of the whole house as I'm standing pretty far away from it. So the slope of blue perspective lines is very gentle and vanishing. Points located on the red horizon line a set very far apart from each other, and they're outside off the shot. Also know that green center lines that indicate the center on which side of the house are not actually in the middle there push towards the back a little bit. That's because distances diminish as they get further away from us. In this, examples were ahead on the one object or several objects aligned with each other. But keep in mind. If you're objects are not aligned, you will have several vanishing points like we see in this example. You will notice also that vanishing points for green and purple perspective lines are so far away they didn't fit on the screen, but the lines are still going into them. If you would like to analyze this photos yourself and maybe make some sketches using them, I've attached them to this class. I wanted to give you a quick word of warning against mindlessly tracing reference photos, especially if you're drawing architectural subjects depending on where you stand and how you hold your camera, the image might turn out distorted, as you see here, because I tell that my camera some of the walls look like they're falling, and you probably don't want to copy that into your drawing. This is different case when you're standing up close to the object and the lines actually go into the third vanishing point. It's actually gives me an interesting perspective, and it gives the viewer certain impression off the subject. Here is another deceptive thing that happens in reference photos we clearly see here. The lines off the wooden walkway come into a vanishing point in the lower third of the picture, but we also see that the horizon line is a lot higher. It's a little bit above the middle section of the picture, and what happens is theatrical. Vanishing point for the whole landscape, of course, lies on the horizon line, but the pathways sloping, and that's why it has its own vanishing point. But with the experience and careful observation, you will be able to very easily figure out all those things. Ofcourse, the best thing to do is to draw from life, or at least to make a very quick sketch and then take a photo for further reference and development. In the next video, I will demonstrate the process of building a perspective drawing using this to steal lives . 6. How to draw perspective - demo: this demo will show how to draw three boxes in perspective. I'm going to start with the bottom box, and first thing I do can very lightly sketch in, I think, with geometric perspective. The easiest thing to start with is the verticals, because we know that I'm going to be sloping. They will always stay vertical, and I'm also looking at how the object interact with each other where they intersect. Like I see this orange box, it's sides such the edges off the green box below it, so that helps me to be grounded, size and position and who analyzed our boxes. We will see that the blend of site is located approximately in the middle of the top green gray box there, close to the top of the orange box so the top of the orange box slopes downward very slightly. It's almost horizontal line, and the top of the green box, which is higher than the horizon line or the line offside slopes a little more and the bottom green box. You actually see the top surface of it because it's way below the line of sight and all the edges go up towards the line of sight in after everything is likely sketched in. I like to draw the structure of a cha object, treating it as if it's transparent. That actually helps you not only practice your perspective drawing, but also to check yourself and see if your initial construction was correct. So I'm going to do the invisible edges as well. And I'm on purpose, extending the perspective lines beyond the drawing to make sure that they dio go towards each other and that I have that diminish, in effect, that was seen perspective and also in some styles of drawing. I think if you can kind of see the pencil structure under your arm officiating, it actually gives drawing what interest and I will highlight with my marker the final results so you can see it better in. Like I said, we can delete pencil construction lines or we can leave them in the drawing way. In the second demo will look a perspective, drawing off some rounded objects again. I will start with verticals. I'm going to likely sketch in the size of each object just to make sure everything fits on the paper, and I'm also looking at them and relationship to each other, to figure out whether intersect and how big they are and with rounded objects, the grasp, the structure we need to use their center lines. So for each object I'm drawing the vertical central line and after the central line isn't I know that the sides of the object of going to be equally distant from the central line and we know that circles and perspective become ellipses and to draw them it will be helpful to draw the horizontal axis in. I will do the same for the little cup. I'm drawing its central line and then the top, opening with its horizontal excess in the neck and grow the sides that will be equally distant from the central line. And the teapot is a little more complex form, but to draw it would need to break it down into its parts. So I see that the main body off the teapot is basically a sphere, so I can sketch it out. And with rounded objects like that, I like toe, find the widest point and draw the horizontal access there and you will see in a minute why it's important draw the top opening showing its structure. Trading the teapot is if it's transparent, and then we can fit the lid into the opening, and I will draw this about which has a horizontal portion and the side well. So I'm going to sketch that in, and it seems to me that my teapot is a little lopsided, so I'm going to go to the widest portion of it where I draw that horizontal access, and I'm going to measure with my pencil to make sure the distance is equal on both sides. And then I can draw the handle, and the handles on teapots are a little tricky. Just keep in mind that it has a thickness. It's not paper thin, so you will see the side age and you will see the horizontal age. And since it's a complex curve, you might want to break it down into sections, and that will make it easier to build. And after everything is ready, I'm just going to highlight my drawing with the marker so you can see the final result better. Or if I didn't want to use the marker, I would just go over with the softer pencil and highlight the final drawing, - and I'm going to indicate that the cups on a paper thin. They have little sickness. I'm just going to put a second line there. Indican quickly show the surface everything to sit in on, and that's it for branded objects. Perspective drawings. 7. Light and shadow: drug light and shadow on an object helps us to show that it has volume, even though our sheet of paper is flat. Let's look at this diagram showing a couple of objects. One of them was rounded and the other one is angle, um, to simplify. Things will consider only one bite source. So this side of our cat and the top of the box, you say none will be in light. The side of the object opposite of the light will be in shadow. It's called core shadow. The closer the core shadow is to you, the dark it will be no, just that the core shadow on an angular object comes up right to its age, but on the rounded object, it gets lighter as it gets to the edge. Doing that allows us to create illusion that the object curves away from the viewer. The set that slightly turned away from the light source is called Middle Tone or me Tom. On an Anglo object. There is a distinct line between core shadow and Mito, but on a rounded object like a cat, there is no strict boundary. The transition is very soft, unless the object this perfectly transparent. It will cast a shadow, which we see here, and also the box cast a shadow showing on the bottom right for some of the light bounces back from the surface, the object of signal so usually on the side of the court, shadow off the object. We will notice some reflected light if the object a mat that reflected light effect will be very sorrow. So you really have to look for it. And the last light we need to keep in mind is the spot where the light hits the object most intensely, especially on shiny objects that will be a highlight. It's very important light. It usually makes the drawing really come to life, but also eating too many highlights off the same intensity deludes this effect. Practicing and drawing light and shadow Start indoors. Taken simple object like a ball. A box for maybe cannot be ins at a concentrated light source. Basque lamp will work rate and practice drawing. When you feel you grasped the idea pretty well. Combat several objects and set up a simple, still life and practice some more. The simple, still lives that you set up for practicing perspective. Drawing will be an excellent starting point for practicing light and shadow as well. So I have a simple, still life set up. I picked some rounded objects and some rectangular ones, and some of them are stacked on top of each other. So I get some height and some visual interest, and I'm using a desk lamp is my light source. I have attached a photo of this still life to this class. If you would like to bet it a little more and draw the same thing, but also make sure you set up something at home and practice from life. The demo will start with a perspective drawing, which will be a good reveal what we learned in the previous video to start. I've marked all my objects, very likely with a mechanical pencil. I know it's hard to see on the video, but I basically just mapped out my still life on the page to make sure everything fits and everything is more or less centered on the page. And that's what I'm doing at this first stage. The step is very important in building the overall structure of your drawing, so we will talk about it in more detail in the next two videos. Now that I know where everything is going to be, I can start drawing each object with a little more precision When you start with this melon . And even though it's a pretty simple form, it's always good to know where the central line of each object goes. So that's what I'm showing very likely toe. Get the melon positioned correctly, and I'm doing the same thing for this glass that has a candle inside. I'm drawing the central line and then each horizontal central line for each circle for the lead and for the bottom of the glass. And that central line allows me to judge how to correctly position the ellipse that represents the top of the land in the bottom of the glass. - I'm going to draw the lemon, and as you see I'm drawing. Each object is if it's transparent, because I want to really analyze it's structure and make sure that my perspective drawing is correct and treating object as transparent helps me to make sure I didn't make a mistake in the form. I'm going to move on to the lower box and those boxes are rotated against each other, so this will be a classic case of several vanishing points. Even though the perspective is very slight, it's a still life. We're pretty close to the object, so we won't see a lot off reduction with the distance. But it's still important to understand where the vanishing points are going to be and draw the objects correctly, and you're gonna draw the lemon on top of the box. Then they can now indicate the age of the table just very slightly. It's always good to have something going on around you still have. So it's not just cut out and pasted on the white sheet of paper. And here you don't have toe really stick to what you see. You can be a little creative, maybe add a few lines and elements just to make it look good. And it's also a good idea to kind of map out your cast shadows. So when you start hatching, you will know how far you need to go there also part of the drawing, and they helped to describe our objects, and now we can move on to aiding tone or shading to our drawing and separating light and shadow and making the drawing look three dimensional. Really helpful thing that you can do when you start adding tone to your drawing, and it goes for drawing and for painting. Good idea is to squint when you look at your subject. That way, our eye doesn't see the detail they'll so much. But we'll start seeing in terms off light and shadows. So my first fast will be very light tone that I applied toe all the shaded areas that are all the areas on my objects that have poor shadow. And the reason I don't want to go full force right away is that working gradually allows me to control the overall look of the drawing and to add some deeper shadows where they're needed because shadows on each object has to be balanced in relationship to the object next to it. So just cover all the shaded areas would like tone, and then we can start darkening some zones that need to be doctor, and I'm going to make a little correction here with my drying Tinian path. I put a pretty strong line there, and I don't like how it looks so I'm gonna take it out And, um, just at home, everywhere in this area. So once the first stage of our tunnel drawing is completed, we can move on to darkening certain areas off the core shadow and the cast shadow to make the drawing for power some more and become more three dimensional. I'm starting with the melon again, and I'm gonna do a little cross hedge here because I can clearly see the texture on the melon. I think it will make it look more interesting if they do a little cross hedge. Don't forget those little details that you see, they end interesting. A subject like that little stand on them, Ellen and some button noses on the lemons. And because light hits that melon most out of all my objects, I don't want to have a dark line where in the lead portion of the melon. So I think that line out with my dry cleaning path, and I'm just going to show that there is dark a table behind the melon and you see, it looks much better without that dark line there. - No going to darken the core shadow on the glass candle that object is pretty close to us, so we will see quite a bit of contrast between the lid portion and foreshadow and the letters in the line. But it's turned away from it. So this will be classic example of me, Tom, and you will see that I'm removing the headline because I want to soft transition between the Mitterrand on the vertical portion of the lead and the late portion where you see the light hits it on the edge. And, as you see even though I Drew Lemon initially is if it's transparent and the glass candle was showing through the lemon. Now that I started to apply tone, those lies just kind of blend in with the tone, and they're not really visible. And even if they are, it will be very easy for me to just lift them off with my dry cleaning pad. And at this stage again, I'm not making things too dark right away. I want to gradually add some tone to make sure my drawing remains balance throughout the drawing process. The core shadow on the boxes that side that turned away from the light is pretty large area wise, some trying to find some the right in it. I know the core shadow is going to be darker towards the age towards the your So that's what I'm doing. I don't want it to be all the same dark tone. They're just not gonna look interesting. So I'm trying to find some variety even exaggerating a little bit, but trying to find a ride in that shadow because my background is in shadow as well. I'm just going to add a little tone there to make the let portions of my still life pop out even more. Never gonna move on to cast shadows. That's the darkest shadow, usually on the object, So I can press a little harder in my pencil and make them darker. And I already have some tone there, so I'm just adding a little more contrast. And again, the cast shadows going to be darker, closer to the viewer. So I'm making the edge first and out a little warm. It is easy. I have my eraser handy. I'm trying not to use it too much, but sometimes it just necessary to make a few corrections is a applying tone to the drawing . I'm also verifying my line war and I'm making corrections as I go. - And because of the nature of the glass, some of it is transparent. Some of it is not. The cast shadow is going to be pretty complicated. And just draw what you see in this case and follow what you see in your still life. - And now I see that my core shadows can be darkened, a little more in relationship to how dark I made the cast shadows. So that's what I'm doing. I'm going over everything again because in the beginning there was no way for me to know her dark. They need to be. So I made the light, and now I can gradually dark and now likens also softened them and add a little me Tom to make a transition between the core shadow and the lead portions of each object going over my rounded object melon and the two lemons. I'm softening in the transition between light and the foreshadow it in some me tone and also the table recedes into darkness as it moves away from the light. So I'm just gonna add a little tone here real quick, and I think we're done we're gonna sign the drawing. And after I signed something, I always find that I need to add a few details here. And there may be dark in my life work. Just the bed that kind of started to disappear until all the tunnel work that I did. So just quickly going to go over and restate my lines just a bit to add some contrast and make everything popular more, but not everywhere. Just in a few places and we're done and let's see the final result. 8. Going from general to details: In this video, we will take a look at the steps to go from a blank sheet of paper to finish drawing. The biggest problem new artist face is being bogged down by details. We get so excited about aiding them toe drawing that we lose sight of the big picture. In my work, I discovered over and over again that progressing from general too detailed and from bigger forms, the smaller ones is essential for successful results. Here the steps I go through when I work on each of my drawings before I jump in and start drawing, I tried to visualize my subject on the sheet of paper in front of me. You can do this just mentally, or you can draw what's called a thumbnail sketch and I'll show you how I do it in the next video. The second thing I do is I draw my subjects overall form, lightly outline my subject on paper to make sure it fits, and composition is going toe workout, depending on the subject and depending on the size and format of my paper. After that, it's very important to stop for a second and value of the result and make sure you're happy with it, and it is what you intended it to be. Sometimes will rush through because I was so excited toe get down instead drawing. But it's very important to pause and look at your general outline from a distance and decide if you need to make corrections or if you can go ahead with it. If I'm happy with the results of my outline, I'm moving on to drawing the structure of my subject. This is where I evaluate all the angles, distances and the relationship of which part of my subject to each other. We will review this process in more detail in the next video. Once all the parts of my drawing are developed and everything where I wanted to be, then I can move on to drawing the details and drawing details means one more step in verification process. Applying tone is also stepping, detailing your drawing and achieving more three dimensional and realistic result. Here is the first example of what we just discussed. The subjects is simple geometric shapes, so first step is to visualize them on paper than create an outline, then work out their structure while keeping in mind the rules of perspective and observing the subject, of course, and the third step is to create actual drawing that you can then detail in a tone to and develop into a finished piece of our in. The same principle applies to a little more complicated form that I have here some rounded objects. But again, we work out the outline. We work on the structure, and we work on the finished drawing. And here's the third example we're working from general to detail is especially important if you have a photo with a lot of detail, or even if you're working from life, look for big shapes first, so you can put your composition down on paper. Then you can verify all your shapes, your angles and proportions, and after that you can go into your final drawing, verify the details and refine it as much as you want to produce a finished piece of art. And I wanted to give you some pointers about drawing overall shapes in case it's a new concept for you. First thing I would suggest is to squint when you're looking at your subject. That way, you won't see fine details that won't distract you and you'll be able to draw the overall shape in drawing. The overall shape means putting on paper the outside contour of my subject for doing it with my pencil and drawing it as precisely as possible. And as I mentioned, I ignore the details, and at this stage it's very important to just keep drawing, even if you see if something is not quite right, just draw a new line next to it. And don't grab your eraser just yet, erasing while working on the outline. Well, first of all, interrupt your flow. You will forget where you were. And also, if you just keep erasing, you will still have an empty sheet of paper instead of a drawing that you can evaluate and correct if necessary. And now let's look at the demo that I did of a still life. This demo will illustrate each step off this drunk process 9. Going from general to details demo: In this video, we will review the drawing process, using the still life as an example. So first thing we need to figure out is how our subject is going to fit on our sheet of paper. How we're going to show everything we're going to show a portion of it are going to focus the viewer's attention on a certain detail. So when we answer, all these questions were trying to resolve our composition, you might have heard this term, but it's a very big subject, and here I just want to show you that we can resolve composition of the drawing, either in our break or with the help of thumbnail sketches. So with thumbnail sketches, it's very important to work very small, so you can grasp the whole subject very quickly and don't spend too much time on it. And they usually draw the composition first, and then I draw on a sheet of paper around, so my first off this choice will be a vertical composition. Let the one more I'm going to draw the subject again. Real quick on may be horizontal one where everything fits on paper, so I'm going to draw the sheet of paper around it. And when im drying the sheet of paper for these two examples and keeping the proportions close to the proportions off my sketchbook page. And now let's try to get a little more creative and maybe do like a longer verticals sheet where we crop the composition a little bit. And you see now that it's important to stay very small because you'll be drawing your subject over. No Berg, and you don't want to spend the kind of time on this. Let's see, What else can we come up with? Maybe make the sheet of paper a little larger? So the composition, this kind of situated in the corner, That could be interesting. No, another one real quick. What else can we do this where that can be a possibility as well? - And I think this is plaintive options. I'm going to go with the 2nd 1 the whole composition that fits on the horizontal sheet of paper. Now I need to transfer my idea, my mental image or my thumbnail sketch that I selected onto a large sheet of paper. I'm going to do it with very light lines, and I will move pretty quickly. I don't want any heavy lines just yet because I might be making a lot of changes. And if I have dark lines that will be hard to raise and make corrections. I know it's kind of hard to see on the video, but all I'm doing is sliding my pencil along the outline of my subject. This stage shouldn't take more than just a few minutes. Maybe you 35 minutes, depending on the complexity of your subject. We don't want to rush through it, but we also don't want to be too constricted and stilted. Why were do this? And we want to move to our next step, which is evaluation off the result. And if we need to make corrections, then we can make changes in correction toe the initial outline. Now we need to stop and evaluate what we have, and it takes a lot longer to explain what to do. Then doctor to do it because it shouldn't take you more just basically a few seconds to assess what you have on paper. Our evaluation criteria will be composition, design and proportions in There's a pretty abstract subjects. I know I struggled to understand them for a long time, so I think it will be much easier to just ask ourselves three simple questions. Did I successfully transfer my idea onto the sheet of paper that I will be working on? In other terms? Does my outlined look like what I visualized before I started working on the drawing Or did following your thumbnail sketch actually work out on a large sheet of paper? Does my drawing feel the page? You obviously don't want to have a Jan sheet of paper with a tiny little drawing somewhere in the corner. You you want your drawing toe nicely. Feel all the space that you have. And the third question are all the elements about the right size? This is the time to make sure something didn't come out huge and something that's supposed to be slightly bigger, still small. You still help for those life pencil lines. It's easy to the race. You didn't spend too much time on the overall shape, and it's easy to make corrections. Not that I'm happy with my composition, and the outline isn't place and is correct. I'm going to develop the structure of which object for rounded objects I'm going to use their center line toe kind of inquiry them in place and check location of each object. And for singular object such as the book, it's easier to start with vertical edges. I'm pressing on my pencil a little harder, but I'm still using fairly light lines because there might be corrections that I will want to make. And you will see that I'm using the mechanical pencil because it stays sharp and it allows me to put down fine lines without too much smudging. And I'm treating my projects is if they're transparent, because I want to really understand the structure at this stage in the from only going to show visible ages that might lead to some confusion. So this stage it's better to drum a little more than drug less and make a mistake and perspective that you will be stuck with e o E o. You know that the structure is completed. We can move on to add in some details. I think this is the fun part of its drawing when we can finally start putting in all the details too clearly. See them? I squint when I look at my subject it makes it look more contrast, and I can see better the darkest portions of my subject, and that's what I'm going to accentuate at this stage. I switched to softer pencil because at this stage I want more contrast. I want darker Richard extra flies, so Self Pencil will help me with that. I don't want to put them absolutely everywhere. That will be too much of a good thing. I was very the pressure on the pencil and squint and pick just the most important details on the drawing. And in this demo of showing two ways to end one detail to the drawing, the first thing was darker lines, and the second step will be applying tone, which I will also demonstrate. Maybe I will make my background a little more interesting and show this pattern on the fabric. I think that's enough. Let's move on to the next stage. Let's make our drawing even more three dimensional by applying. Some told, I'm still using the soft pencil and amusing little shit off paper, so I don't smudge my drawing with my palms. I'm still squinting by looking at my subject that allows me to Steve Dark and light areas look better, and you will see that I'm using those continuous painterly strokes where I don't live my pencil off the page, and I also combine it with someone. Work that I'm Eddie, and it's important to keep your pencils sharp throughout this process, so you can really get those small details on your subject. The fact that I already have some dark accents on my drawing that I applied to the previous stage actually help me, because now I mostly at small details in the Answer me tones. So I draw the transition between the lightest portions that I'm leaving this white paper and those dark accents that I applied before. And I'm cleaning of the highlights with my eraser and love your plan tone. Also, try to pause for maybe a second or two and evaluate the overall effect of your drawing. Don't get concentrated on just one spot because you want to keep your drawing balanced at all times, so try working everywhere, and if you need to go back to certain areas and dark on them, you can always do that Afterwards. I also want to add some town of the cast shadows they give our drawing its three dimensional feel. They add interest in picture to the trying, so don't ignore them. - And I'm gonna add a few strokes in the background, just balance things a little more and we're done. And let's look at the final result. 10. Drawing what you see: In the previous video, we talked about creating an outline of your subject of the basis for further development and refinement. How do we know where all those lines are going to be? One way to do it would be measure our subject by holding a pencil in an outstretched hand and then to draw a line off the same length on paper. In my class, you can sketch people where a show how toe outlined human figure for fast catching. I mentioned that I really use that method except for maybe checking a few ankles. It's a valid technique, but it takes too long. It it can become confusing. Let's look at another method. We will visually evaluate and completely sizes and angles off the subject in front of us. So here's our first composition. We pictured in our mind that it will sit approximately in the center of our page and take most off the page. I will start drawing with the far left vertical line, and when I think the damn it the corner off the bottom box, I kind of pause my pencil in the point for a second, and I'm asking myself a question now I need to draw the far edge of the box. What is the angle between an imaginary horizontal line and that side of the box? And after I mentally estimate that angle, I draw the sloping side of the box and I come to the point where it intersects with the box sitting on top of it. Now I'm asking myself a question. How told is that gray green box is compared to the height of the box that stating on and after I make this mental evaluation, I draw the vertical edge of that great Grable. Now I came to the top corner and I need to draw the sloping side. And again I compare it to an imaginary horizontal line, and I asked myself a question. What is the angle off that line? And after I estimated I draw the line and because these are a visual estimates, they're by no means final. But when we move to the next stage, when we will work on the structure of which object, that will be our chance to verify all those angles and make sure everything is correctly from the point of your perspective. But we're not concerned with that just yet. And as we come to the highest point off that green gray box, we're going in there the direction again. I'm asking myself a question. What is the angle at which that edges sloping compared toa horizontal line? And after I estimated a drive and at this point to draw the vertical edge that speaking from behind the orange box, I need to look at the left side because I have that height already, So that will be my reference point at this stage. And they keep working my way around the composition in the same way, asking myself these questions and making estimates. Comparing heights and angles, I finished my outline, and now I can move to the next stage of refining and checking everything and building the structure of the elements of my composition. Let's look at another example. Here's a still less composed of rounded objects. Current lines will be a little bit trickier to draw, but the principle remains the same. We visualize our still life on paper. We want everything to fit and we want. The position is more or less in the centre taking most part of the page, and we will start at the top at the spout on the lid off the teapot. So I'm asking myself a question. If I draw a horizontal line at the tip of the about, what will be the angle between that line and the central line off the spot in the live? And that brings me to the point where the handle of the teapot is attached. So now I need to draw that curve. And again, I'm estimating that the furthest point of the curve is about 1/3 off the height of the handle. So I draw that, and then I see that the bottom off the handle is on a vertical line, dropped from the point where it's attached to the teapot so I can roughly sketch that in. And then I would go back to this part and estimate the angle off the bottom Colonel, the spout of the teapot again, conditionally measuring the angle and put in the curve of off the side. And that brings me to the big cop. And then I can see that the distance between the intersection off the cop with the teapot in the left hand side of the cup can roughly divided and 2/3 and so 1/3 will be the center point of the cup. And then I need to go 2/3 to the left to get to the left side of it and then I'm moving down and again I see that it's 2/3 for the vertical line and then 1/3 for the curved line and that brings me back to the central point on the bottom of the cup. And if I look at the right hand side of the cop, I see that it intersects with the teapot at about the middle point. So that's what I drop and I can see that the big cup, it's roughly inscribed in a circle, so that helps me to establish those bottom curves as well. And I jump over to the right and when I look at the little cup again, I can estimate its size and position when I compare it visually with the teapot. But also I see that it's more or less inscribed in the square, so that gives me all the information I need to kind of roughly sketch it in, and when I have the outline completed, I can go a little further and draw the handle again, estimating its thickness compared toa the right hand side curves that I already have on paper and also completing the body of the teapot. That's basically a circle as well. In our third example, will be a slightly more complex form. This two cats. Let's look at the one on the left and more detail again. I will visualize the whole composition on paper and then work on each element toe. Applying it. I will start in the top left corner like the tip of his ear, which you don't have to. But that would be my preference, though I will evaluate first lines there angles and I will draw his here in the forehead and then I will go down and I can see the the Cats had is about 1/3 off the total height off his stated finger and the point. I will also take a look at the size of the year compared to the overall size of the head, and then I will go down again. I need to put down that curved line, and it is also 1/3 toe where the legs starts and I valued the angle and it goes slightly inward. And then I will draw the leg, which is almost a vertical line, just with a slight curve by dropping a vertical line from his chest that can see that his footsteps out a little bit. And again, there is no precision at this point. I'm just visually judging distances and angles. And then I need to go in the horizontal line toe where he kind of overhangs at break that his signal. And again, I see that the point is about halfway toe the overall width off his body drug curve. And now I find the widest point of the body on the back of the cat by looking at the left hand side and judging the distance, and that allows me to draw the vertical curve. I can roughly estimate the angle, and I do the same on the upward curve that goes up his back. So breaking up the curve of his back into three sections makes it easier for me to judge the angles of the curves. And then when I get about midway off the cat's back, I look on the left hand side and I see that I need to break up that remain in distance into two equal parts, and that will give me intersection off the back and the shoulder, and I can put that Kurban. And then I just finished my outline by close it and drawing the ears and close in the outline. And after that's done, I can. They cannot look at it, verified that all the distances and all the angles look about right, and then I can start working on the details. I hope that this comparison technique, as well as other exercises in this class, will help you to draw anything you want and successful. Express yourself through your art. Please remember that drawing from memory, we're using your imagination for doing a great, but they cannot completely replace working from real life subjects. Even the realistic drawing is not your goal. And art careful observation of reality will make you much better. Artist. You will discover that forms are usually much more complex and varied that were assumed and remembered. So open your sketchbook or grab a sheet of paper and start drawing the world around you 11. Class project: for the glass project and to practice what we learn, draw a simple, still life, find a few objects with simple geometry, maybe some fruit of boxes aware of in food cans and a concentrated light source. Abascal Ample are great and practice. Join them when you feel you Greste there. D pretty well. Try going outside. Start with just one or two objects. Maybe draw an interesting doorway, bench and outdoor sculpture, or maybe just a flower before you move on to larger compositions. If you'd like me to give you some feedback on your work, please post your drawings in the project section. Good luck and remember, you can draw from life. 12. Useful tip: blending with the tortillon tool: Sometimes after applying some tone toe, our drawing would discover that we want to blend the strokes together a little bit, were somewhat soft on the texture. That's when I would use 30 young, also known as the blamed in tow. Those blending tools come in various shapes and sizes, and you can buy them in an art supply store or online ready made. Or you can make your own and their several ways to make them. In the short video, I will show you how I make them and then how I use them for my drawing. You need to make a tortilla is a sheet of paper and a little bit off much tape. It's best to use very soft, porous paper. It will give you better results. Don't use anything glossy or waxy, because then you're bending. Tool will be too stiff into scratchy, and it won't smudge to graphite quite as well. So all I need to do is roll up my sheet of paper. On the day Agonal started with a corner, I'm gonna start with my fingers, parsed and then just roll it up on my table. In novels, secure the opposite and with a bit of Scotch tape. You know, make another one, and you can trim it at the certain thickness or at a certain angle to make it more pointy on warm belt. That's why it's good idea to make several so you can have different thickness and different surfaces. And now let's do a little pencil drawing and goes over fresh handmade blanket.