You Can Sketch People! Create Expressive Art in 20 min or Less | Ksenia Annis | Skillshare

You Can Sketch People! Create Expressive Art in 20 min or Less

Ksenia Annis, Figurative artist

You Can Sketch People! Create Expressive Art in 20 min or Less

Ksenia Annis, Figurative artist

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13 Lessons (59m)
    • 1. Introduction

      1:28
    • 2. Why Fast Sketching

      2:33
    • 3. Materials

      4:07
    • 4. Where to find models

      1:33
    • 5. Simple Outline

      3:32
    • 6. Method of Sight Measuring

      4:41
    • 7. Expanded Outline

      5:45
    • 8. Separating Light and Shadow

      10:43
    • 9. Importance of Hard and Soft Edges

      5:54
    • 10. Sketching with Color

      13:51
    • 11. Sketching Exercises

      1:36
    • 12. Class Project

      1:27
    • 13. Getting a Head Start on Your Sketch

      1:40
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About This Class

If you always wanted to draw people but didn’t know where to start, this class is for you. I will explain how to create fun, unique, and expressive sketches of people using live models. No prior knowledge of human anatomy, measuring or shading techniques is required. This class is will be interesting for beginners and for experienced artists who want to loosen up or try some new ideas. Draw your friends and family, or go out and sketch – this fast sketching technique does not require sitting still for hours, so anybody can be your model. We will be mixing various sketching materials – watercolor, gouache, color pencils, inks - to create a sketch in your unique style. We will also talk about how to get proportions right without lengthy measuring and revising your drawing. But most of all, this class will be about building your confidence, having fun and expressing yourself as an artist.

Meet Your Teacher

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Ksenia Annis

Figurative artist

Teacher

While in college in Soviet Russia, I was told  that I have no talent for drawing or painting. I  pursued an architectural degree and for about 20 years worked as an architect for various firms in Russia and the US. In 2009, my dream of being a  professional artist overwhelmed the practicality of a stable office job.  Fortunately, Russian architectural training mandates serious study in classical drawing and painting, laying important groundwork for the pursuit of my passion. I dedicated my time to systematic studies at classes, workshops, live model sessions, and regular studio work. In 2014,  I founded my company, Tummy Rubb Studio, and my art became a full time business. I created paintings, illustrations and public art projects. My focus now is on helping oth... See full profile

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Transcripts

1. Introduction: Hello, my name is Catania ins Welcome to my class. You can sketch people. In this class, we will learn how to create expressive figurative sketches in 20 minutes or less. Figurative are big part of my artistic portfolio. I'll show you how regular drawing from live models help me to improve my skill in drawing the human figure. In this class, we will learn how to create a simple outline that will help us to position the finger on paper and figure out the proportions. How to refine that outline and add accents in details. At this point, you are drawing will look like a finished piece of art. I will show you how to add even more life to your drawing by combining quick washes, a water color, orange with line work. This class is not about anatomy and precise measure rain, you're careful shading. It's about quick decisions, spontaneity and artistic expression. To create the sketches, we will be using the method of sight measuring that, that will explain them this glass mastering this method and practicing your sketching with the exercises from this class will make you a better artist, no matter your chosen medium or genre. Get your pencils ready and let's get started. 2. Why Fast Sketching: Hi, welcome to my class. You can sketch people. So what is fast sketching and why is it important to draw fast? Fast sketching is a technique that allows us to produce a finished piece of figurative art in 20 minutes of faster, of course, 20 minutes is a rather arbitrary number. Usually this is how long a modal can sit motionless for an artist. So to be able to finish your piece within this time period of faster, if you can, is a great skill to have. If you can work quickly, you'll be able to capture people who are maybe not specifically pose it for you. And also it keeps you work fresh, spontaneous and full of energy. How is fast sketching different from academic drawing that is taught in our schools? Epidemic drawing requires detailed knowledge of anatomy. It's three-dimensional and carefully measured. The subject is portrayed realistically and in great detail. Sketching, also known as gesture drawing, is a piece of art completed in a single short session. The artist picks the most important details that they want to show. All the measuring is done by the method of sight measuring that we will be learning in this class. And most importantly, it's about artistic expression and not about accurate depiction of the reality is fast. Sketches can be further developed into more detail paintings or drawings with the help of reference photos, as you can see from these examples. Quite often though I leave them alone and exhibit or sell them as they are in color sketches. I don't have an erase the initial pencil lines and people told me they loved it because it gives sketches additional texture and interests and lets viewers see the artist's thought process. Looseness and spontaneity of this pieces is hard to imitate, but very easy to lose with subsequent corrections and additions. Besides creating beautiful art, fest sketching helps us to develop two very important skills. We train our eyes to accurately see our subject and measure it mentally in our head. We also train our hand to precisely record on paper what we see in front of us and training and maintaining the ability of your eyes to see air correctly in your hand, to draw accurately will improve your drawing skills in general and will result in better art no matter the chosen subject. So we can safely say that sketching is extremely important for artists, no matter their skill level or material or genre that their warfarin. 3. Materials: The beauty of sketching and zed two, you don't need a lot of materials to start. Basically, if you have a sketchbook and a pencil, that's all you need. I like to use bigger sketchbook, 11 by 14, but I usually work on side and a modal lab or at home. But if you're going to carry it with you and be somewhere outside, it makes sense to buy a smaller one. I would recommend using pencil at least for B or software with a soft pencil, you will get more interesting and varied marks. Just look at the pencil when you buy them this door and it should say 4B, 6B AB, or sometimes I even used 12 b in this glass. I'll be showing you my super-fast shading techniques using water soluble pencil. They draw like regular graphite pencils, but they can be smashed with a brush with some water. I think the Rent makes the best ones in the common different kind of variations and washes. There is light wash, medium wash and dark wash. And I think dark wash works best. It gives you high contrast varied marks and you will also need a water brush. It's a brush with a little container filled with water to smudge the pencil and create the quick Washington. We'll also show you how to sketch in watercolor on watercolor paper. You don't need a huge set of paints. A basic one with maybe 12 colors will be quite enough and they can be inequality. Even student grade will work for our purposes. If you don't have watercolor paper yet, I would recommend to buy it at least 11 by 14 inches. Blog small format is hard to use and very large paper will require you to use drawing board or a Nissl. I use cold press paper because I like the texture in a 140 pounds is fine for our exercises. And I even use both sides of its sheet. Bristol is an interesting type of paper to try, especially if you like to draw with ink, you can use it with watercolor and other materials on it as well. And it will look totally different from watercolor paper in can be used with traditional still Nipun cartridge pen or attorneys brushes, and we will talk about those a little later. I rarely use watercolor alone for my sketches. I usually make an overall wash with it, and then I use intense color pencils and bars to add details. Those are super versatile and create very saturated marks if you touch them up with a wet brush, I will show you how I do that in a later video. Other materials to try. Toned paper and pencils, worrying pencils you like try using garage instead of watercolor. Wash is opaque and therefore more forgiving than water column plus you can use white water soluble brush pens by our teaser or another brand, Sharpies markers in your the pins you have. The key here is to be brave and experiment. It's just a piece of paper. You really have nothing to lose and everything to gain from the new experience. Drawing tool. I try not to use myself and I recommend my students don't use, at least at the initial stages of sketching is an eraser. This is has sketching technique. We don't want to be spending ten my racing. We want to be adding information on paper and erasing is very distracting and basically wasted our time. If you want to clean up the graphite before you start painting with watercolors that I recommend is directly impact. You can get a DEM, art supplies stores and online. And this is how it works. You kind of squeeze it over your painting. Rubbish shavings come out. Then you gently rub your paper. It doesn't damage paper, it doesn't leave oily residue like some erasers to and then you just brush the shavings away. I have a special draftsman brush but you don't have to. You can just brush them off and keep working. And of course there is an ultimate sketching tool. It's your iPad. If you have one, it's great. It's portable. It's first of all, it's very powerful. If you would like to learn more about iPad sketching, please take my class, procreate to paper. That gives you all the details about digital tools that even traditional artists who work with paper and pencils can use in their art practice. 4. Where to find models: Where can one find models to practice sketching? Of course, first thing that comes to mind is to ask your friends and family members to sit still for a few minutes while you practice. They don't have to specifically pose for you. Just continue doing what they're doing. If they're moving slightly, it's okay. Just f can not to leave until you're done. Local art organizations such as arc leagues, art societies, College, our departments hire models to pose for the students or members and invite interested artists. Sometimes even individual artists organized figure study groups in their studios and invite people to draw or paint to share the cost of hiring model, check online, or ask around. Another option is to just go outside. Concerts, various events are great opportunities to practice your skills. Musicians can be good models, even though they move, their movements are usually repetitive and give you a chance to catch them on paper. People sitting around and cafes, restaurants and parks can be good bottles. Just make sure you're fairly far away from them and not their direct line of sight. Otherwise, you might make them uncomfortable. I'm sure we all understand how important it is to be respectful to others. Only take photos with permission, and of course never share your reference photos online without written consent from the model. 5. Simple Outline: In this video, we will take a look at how to take the first step in the creation of our sketch. We have a blank sheet of paper, so we need to do something to get started on our composition and on proportions of the figure is I mentioned before, this is not an academic drawing when you work from the inside out of the figure where you build the figure, we're going to work from the outside am. So we're going to create a very simple outline and then we will develop it further into a more finished sketch in that's what I'm doing right now. Just watch in, I will do a couple of those in this video. And then in the next video, I will take you step-by-step through the whole process and I'll tell you exactly what I'm looking at and how I'm making all the decisions. Some just sliding my pencil along the outline of the figure. I'm not lifting my pencil. I'm not jumping over from spot to spot in. I'm not drawing the head, the arms, and the legs separately. I'm just outlining my whole subject. So there is a little negative space and here I'm going to put this in as well, but that's about all the level of detail that I'm going to go into for now. And very quickly indicate the background just to make sure my overall composition works. So here's one. And let's do different pose. Just start at the top of the head and slide my pencil along the outline of the figure that I see in front of me, I'm trying to capture maximum information in the minimum amount of time with minimum effort. Because then I will have two more steps to verify everything and to develop it further. And we will of course discuss those steps in the following videos. In why am I not going into details at this stage? Because this is just my initial step and my composition might not work out. My finger can be too small or too big and I might have to start over. So I don't want to spend a lot of time on drawing the details to find out that they're all in the wrong spots. So at this stage, we want to position the figure on paper, make sure everything fits that. We'll want to fit that composition works and start working on proportions using the method of sight measuring. And then if we see that everything works out okay, and then we will develop it further with expanded outlined with light and shadows and eventually with color. So to summarize, in this first step, we went from a blank sheet of paper to some information on paper that we can further work with. We now know that the composition of our sketch is going to work out and we have some initial information on the size and proportions of the finger. A few things to remember as we draw the simple outline. You can start anywhere. I usually start at the top of the head, but to don't have to, we should try to look at the model more than we'll look at paper. Because we're not inventing things. We're trying to capture what we see in front of us. And we try to keep the pencil on paper as much as possible to save time and to have one fluid line, not a million lines, that can confuse us later. We don't draw the details because we don't know that they are in the right position just yet. And we try not to use the eraser because it just waste sorrow time and deletes available information. And at this stage we can't afford to lose the label information that we have so far. 6. Method of Sight Measuring: In this video, we'll explain the method of sight measuring. This is an alternative to measuring something with a pencil in your outstretched hand and then making a mark on paper. It can take quite a bit of time, get confusing, and also can be a little awkward if you're trying to do a quick sketch in the restaurant, let's say with site measuring you just evaluating distances and angles mentally in your head. And you draw directly on paper. And you should be able to do it very quickly and easily with a little practice. So first thing I usually do when I start sketching, I just take one or two seconds literally to visualize my subject on paper to get my composition right. So in my mind I imagine something like this. I'm drawing it with a pencil. So just to give you an idea, then I'm starting to cite measure my model. But like I said, I usually start at the top of the head. And the first line I will put down is arbitrary because I have nothing to go by. And all the further lines I will be comparing what I draw with what I already have on paper. So once I get to my first reference point, and those reference points usually occur with a line turns and changes its angle. So the base of the shoulder will be my first reference point. And now I can ask myself a question. If I drew the head this tall are far out with the shoulder. Do I need to go for it to look proportionate to my subject? Again, this is all very approximate. This is my first pass at the outline and I will come back and check everything and correct everything one more time. So once I get to the connection of the shoulder and the arm, I see that the line changes the angle again. So I'm asking myself again, if I mentally draw horizontal line, what angle the arm is going to be. I've usually evaluated looking at my model and then I put something on paper. Again, this is just the beginning. It doesn't have to be super exact. So I get to the elbow, this is my next reference point, the line terms. Again, I need to ask myself a question. If I mentally draw horizontal line from her risk, what is the angle of the forearm? I can see it's not horizontal, so I need to capture this angle. I think it's something like this and it's what I draw them in. I continue working along the figure, asking myself these questions, looking at what I already have and asking myself questions, what angle do I see in what distance do IC and comparing what already have with what I'm drawing. And once I have one side of the finger drawn, it gets a little easier because I have more information to compare with. So I can ask myself how far the right side of the figure needs to be from the left side of the figure. How wide is the figure? And I can also, when I get to the shoulder, as you see right now, I can ask myself, are this shoulders level are there on the horizontal line and I think they are, so I know where to turn the line of the shoulder and go towards the head. And now I can ask myself, how wide do I need to make the head if it's this tall, would I draw on the papers? So I think it needs to be this wide and I closed my outline and I can also draw this little negative space. Again asking myself catholic, the arms need to be to look correct as compared to the length. That's what I draw him. So with this method, I gradually step-by-step go from an empty sheet of paper to finish sketch. In a step-by-step, acquire the information. And also step-by-step, I verified and I keep making it more and more precise until I hopefully finish with a sketch that looks exactly like my subject. Even though in this class we're discussing site measuring is applied to figure sketching. I'm sure you understand that this method can be used for drawing AND subject. That's how you draw portraits, because a portrait is just very accurate sketch of a swear all the features are the right sizes and positioned correctly against each other and they match the subject Exactly. That's how we get blindness. You can use site measuring, even if drawing something simple like a still life, It's actually a great way to practice just drawing simple geometric fingers to train your eye to see those distances and angles. And also if you doing something more complex like landscape or a cityscape where there are a lot of elements to evaluate and position correctly. But if you train your eye and you train your hand, you will very quickly get very accurate result by using this method of sight measuring. 7. Expanded Outline: Now that we have some information on paper, it will be easier for us to verify what we have and continue building our sketch. And you should go back to the top of the head, the spot where I started. And I still keep my eyes mostly on the model. But now I'm starting to add some details. I'm still trying to work with fluid motions without putting in a bunch of confusing lines, but I'm not redrawing what I already have. I am evaluating my distances in my angles and I'm asking myself a question. Is what I have on paper, correct? Or do I need to make a small adjustment or corrections and put another line next to the one I already have in the Amnon building the finger from inside. I'm not building the skeleton and covering it with muscles and working on each volume separately. I'm working from the outside. I drew the outline and I am drawing the details inside. And now we'll have a more finished sketch. Let's look at our second post. Again. I'm sliding my pencil along the outline of the figure. And I'm evaluating what I see in front of me and I compare it with what I have on paper. I'm going from one reference point to the next, and I linger there with my pencil not to lose my spot in the non moving to the next spot, hopefully at the right angle and at the right distance. I can add a few details, kind of Hampton The face. And I'm also trying to vary the pressure of my pencil a little bit because it just makes for a more interesting lines. So my reference points are a little heavier line. And then when I move the pencil are lifted slightly and to make it slide easier. But also to have some variety and pressure in some more interest in the line. And I'm just filling in the outline of the figure with a little more details, with a little more precision. And we can even add a little bit of shade into our sketch. It will be very easy to do. I used water soluble pencil, so I'm gonna take my water brush and smudge the graphite. Again, looking at the model and trying to see where she has a little bit of a shadow and also where they are dark accents. And the modal decided to change her pose on me and talk to me. It's no big deal because I worked quickly, already captured all the information that I need to finish this sketch. So this is the beauty of this method. It allows you to draw in real life situations, you don't need somebody specifically posing for your motionless for hours while you work. I just continue looking at my model aiding shadows where I see darker areas on her. It's easy to see. She has light colored clothing and since she's still seeking dock into me, I can't even more contact background a little bit because darker background will obviously make the fingers stand out more and it will just make my sketch par below more and the composition will work better overall if I have a little bit of the background. So just a few quick strokes. And because I used up some of the graphite, some spots can be to light. So I'm going to take the pencil again and just darken and a few sunspots. And usually those accidents occur web to form statuary. Her here touches her face and where she's sitting on the couch and wear her arms touching her body. And I want to mention again, it's very important not to have a heavy black line of the same thickness all over your sketch. You want to have variety. So my line is darker in some spots, lighter in other spots, in breaks in some areas, and also may shading that I so quickly added, I only edited in a few areas because I don't want to sketch the behavior and overworked. I wanted to breathe and retain its spontaneous quality. And you can see the sketch is becoming more finished, more three-dimensional, and we've only spent 5-10 minutes working on it. Here is a quick summary of what we learned. The expanded outline is the second step to a finished or more finished sketch if you're going to continue working on it. In this step, we're still working on the proportions with verifying our angles and distances. Where A1 some details in restarting on shading, that is separating light and shadow in our sketch and making it three-dimensional. As with our initial simple outline, we can basically start anywhere. It's very important for us to look at the model as much as possible and not invent stuff. It's important to keep the pencil on paper not to lose our spot in guitar lines fluid and decisive where aiding the details, but we are trying to pick only a few important details that will help our viewer to see what we see. And we want to vary the pressure and we want to vary the thickness of our line because that's what makes our sketch look very energetic, very expressive and spontaneous. 8. Separating Light and Shadow: In expanded outline video, I showed you one method of quickly adding volume to your sketches. I used water soluble pencil and a water brush in other way to separate light and shadow and make your sketch more finished than three-dimensional, would be to use some sort of a wash. You can do it with ink or with watercolor. My neighbor had a few minutes to spare, so ask her to pose for quick sketch, which I will start the same way I start all my sketches with a simple outline. I need to fit the figure on papers, so I am going to very likely outline it with my pencil to make sure it fits. And I am going to start working on the proportions. So this will be my first step to finish sketch. It took a video of my model, but it didn't come out right. So I'm going to just use a still from the video, but I think it will give you a good idea what I'm doing anyways. And while I'm working on this outline, I wanted to draw your attention to the way I'm holding the pencil. I'm holding it little bit ways away from the tip of the middle of its length. I think it makes it easier to draw because first of all, my hand is really relaxed and can move freely. I can put fluid lines on paper, my cheesy or if I held the pencil accreted, tied, and also my hand, if it were down by the tip of the pencil, it would blow my paper from my view, right? It will be very hard for me to see what I'm doing. My second step will be the expanded outline, which I will draw with my fountain pen. I'm going back to the top of the head and I'm starting to draw with a little more detail and also going inside the outline. But most importantly, I am verifying my first step. I am going over all the distances in a angles in them, evaluating them one more time. I want to make sure that what I see in front of me is what I have on paper. She crossed her legs, which is always kind of hard to draw. But I just draw what I see. I don't build the structure. I just copy the angles, the lines that I see in front of me. And also note, I hold my fountain pen a little bit away from the tip so I can see what I'm doing. And also I keep it on paper as much as possible. I don't want to jump around and lose my spot. So I'm working with fountain pen with the same fluid decisive line that I strive to do with my pencil. So looking at my model and sliding my pan along the outline of the finger going inside and certain places using the information that I already have, but also mental and measuring the distances and angles and trying to precisely reflect them on paper. And we can add the little bit of the background just so she doesn't hang in the air. And let's hinted the features. I will be doing an ink wash on top. So I don't want too many details because I want to have something to show with the washes. And my second step was completed. I have the expanded outline radium. Now let's prepare our washes. I'm using traditional Chinese ink. I'm going to use this little ceramic cup. I'm going to put my income the middle. Well, this is going to be pure undiluted ink for the darkest darks. And also I'm going to make two washes, very light Bush for light mid tones. And another one will be slightly darker for midtone slash dark areas. I'm testing them here on my scrap paper to make sure they look the way I want them to look. Okay, and now we're ready to paint to better see the areas that I need to cover with a wash. I'm going to squint when looking at my model that eliminates the details and unifies those little shadows and makes it easy for me to see overall form. So we need to, again, start from the overall picture and then we're going to add details the same way we did with the pencil outline. The light is coming from the right hand side from our ride. So the left side of the figure will be mostly in shadow and that's what I'm going to paint first. Very important to have a piece of paper towel. On the other hand, because you can always take the excess water off your brush or blood, something you didn't like that to put on paper. So just have it handy. Again at this stage, I'm trying very hard not to get bogged down by small details, but to work on big forms on overall shadows, which I can see if I squint when looking at the model. In this step is not kind of mindless coloring of my sketch. I am looking at the model and I'm asking myself all the same questions. Is information that I have on paper correct? Or do I need to make a small correction to make it better? So this is my third chance to get things right. Incas alone, harder maybe to use them watercolor because you can't really lifted once you put something down. That's it. And this Bristol paper that I'm using, it's great for inks because it's so smooth and thick, but it's not forgiving. You can blend like you can lift off the water cold paper, but it's okay. It's just a piece of paper. We can always start over if something doesn't work out. Ok, let's work on those small shadows on the face. Tried to capture them and soften them a little bit. We don't want to give her any wrinkles that are not there. And let's work on the genes some order. I left all this area down here without any shadows yet. So let's do the shadows. And the rest of our sketch. And electric connect my finger to the three sides of the page because it just looks better composition wise. So I'm just going to throw in some background very quickly in January and I'll write this is the first wash. I separated, lighten dark now I have lied and midtone areas. And while I was working on the sketch, I lost some of my line, but I think it's very important for me to have it. So I'm going to pick up the fountain pen and add those few small details on the face and on her hair. And now I'm going to work on the dark areas. So some things need to be intensified. So I'm using my darker wash and a smaller brush. And I'm going to go over my figure one more time. Again. This is my chance to make small corrections and get things right. In using both Branch and pan gives you a combination of line and wash and gives you a variety of ages. And we will talk about the importance of having a variety of ages in the next video. Alright, I think all this sketch now needs are the darkest accent. So I'm going to use an diluted being and apply them with a small brush in just a few select areas. It again, I can see them a lot better if I squint when looking at my model. And those dark areas usually occur with to form starch. So were her legs are crossed with her arms, dice show body. Her, she's sitting on the couch. And they really bring the sketch, the life you see, it's becoming more and more three-dimensional, requiring the range of tone that's so important for successful artwork. And again, it's important not to overwork things and just know when to stop because you don't want to have those accents, their accents. We don't want them everywhere. Okay, let's see what else we need to do. You have the bottom looks to lie to its own shadow. So let's add some dark ink. Don't hear the genes can be darker to, the tone is basically as dark as the cout. Hello, right? And our sketches done in, let's summarize what we learned in this demo. Step three of our sketch creation was a very quick tonal drawing. We started with a simple outline down with a pencil. Then we expanded that outline using a fountain pen. Then we applied several squashes to indicate the shadow areas. And our last touch to finish the sketch was adding the darkest accents, which we did with a combination of line work in brushstrokes. The few important points to remember work all over the figure. Don't concentrate on just one area, but keep your sketch balanced because you never know how long you have. If you sketch in a real life situation, your model might get up and leave. And it's also important to look at the model throughout the sketching process. Do not get too concentrated on your sketch. Look at your model and verify proportions and angles throughout the time you have the model in front of you. 9. Importance of Hard and Soft Edges: As you gain more and more experience and confidence and sketching, you might want to start refining your sketches and start thinking about their texture and also about the variety of edges that you have in the sketch texture and a variety of ages. That's what makes our sketch interesting. Or I'm a little bit less interesting, maybe a little boring. So we'll, we'll talk about this right now. You might have heard that artists talk about hard and soft ages in their paintings and drawings. And what are these? So if we look at the sketch, we will see that where the two forms, you see I'm showing like 3D dark areas that will be hard age because two forms are pressed against each other. So I indicate that with a line, and I also indicated with an accent. I put darker tone here. And it's the same on this form where the fingers leaning against the couch, I put a dark line and put an additional wash here. Opposite to that on the light side, per shirt is white and it has like slight folds that are really soft. So I indicate that with a really light washes. And also on this side, even though the form touches the background, that's where the light hits. And so I indicate that with a very light line. In this case you will see these are soft folds on the fabric. And there is a soft shadow on the arm and it's indicated with a light wash. Even though her hair is dark, this form curves. So you see up with the dark axon, but I don't put it on the very edge of the hair. I have will slightly lighter area here, which allows the form to curve and that forms a soft edge. Edges are especially important on faces. We'll see you on the cheek. There is a slight shadow here and also on the side of the nose, it's a little more distinct because this form is turned away from the light more than the cheek. And I keep those really soft. I don't put any lines there, I just use a soft wash and Asana sketch. You will see local area on the cheap that I indicated and also on the neck. Because we understand if I showed these with lines or with harder wash, they will look like wrinkles or folds in the skin. And we don't want any wrinkles or folds where there are none on the model. And speaking of variety, I think it looks really well when sketch has washes as well as lines that gives interesting very texture. And you see it on this one. I can show the details with lines and I also help washes. And the little trick that I discovered over the years, practicing and working on my sketches is that if you keep the outline or the contour in line of the finger just opened in one spot. This is where the brightest part of the Harris, That's where the highlight is. And I broke the line here and you can see it also here. I didn't close the line and the shoulder. It's really soft because the form turns. I'm broke up the line and makes figure breathe and it makes the sketch more interesting. When I started, I was determined to kind of outline the whole figure with one line and I just couldn't understand why didn't look right. But then I discovered that if I break up the line, it actually looks a lot better. And you can see it on this finger as well. I kind of started the contour, but then the form, it was a curving form against the light clothing. And so I stop the line and left it open and it makes the cereal believable, lighter field to the whole figure. And it's very important when working on sketches not to go overboard. I know would get carried away working on our art and we just want to keep making improvements. But you have to exercise restraint. You have to stop yourself every couple of minutes and ask yourself, am I done? Can I leave the sketch alone and move on? Pronounce it done? Because what happens? And I will show you this example. I started on the sketch, I did the basic simple outline and I applied my first slide wash everywhere, which was first mistake I did. And I decided to improve it and had some accents in it, just went overboard and added them everywhere. And that's way too much. It just looks too monotonous. It's the mesh of the same thing and this cage doesn't work. But obviously it's not there had been deal I spend maybe ten minutes working on this 1015 maybe. And it's just a sheet of paper I can start over. The main thing is to practice and to improve and not be scared. Here is a brief summary of what we learned in this video. Hard edges appear where the form turns sharply away from the light, most young geometric objects and where two forms touch. For example, an arm pressing against the body or hairline flat against the face will form a hard edge. We represent those in our sketches with a solid line or an X and brush stroke. Curved forms or brightly lit areas will have soft edges. That's especially true for planes of the face unless there are deep wrinkles or folds on it. Soft agents can be shown with a broken line or a light wash. Of course, these are not hard and fast rules. You'll have to experiment and see what works for your favorite materials and for your personnel sketching style. 10. Sketching with Color: In this video, we will talk about quickly adding color to our sketch. I'm going to start my sketch in absolutely the same way. I start all my sketches with a simple outline. I'm using the method of sight measuring. And after the simple outline is done, I'm going to add a few details within expanded outline. You can see me doing this right now. And the most important thing about adding color quickly to your sketch would be to simplify things. First of all, you'll be working quickly and you might be working on location somewhere so you don't have time to mix the precise Qin town or match other cause you see in front of you and it's really not necessary to create a realistic sketch. I hope you will see from this demo, I believe that even if we just approximately matched the local color, for example, something like very diluted yellow ochre for the scam and then try to find some warm red for her shirt and some blue for her genes, and then cool it off in the shadows with some blues and purples eat will give us realistic results. Our figure will appear three-dimensional. It will look like it has volume. And we will also be able to show some depths of space on a flat sheet of paper, which is sufficient for our purposes is the assault from the tunnel sketch demo. It's very important to have light, midtone and dark and EarSketch for realistic results, it's a lot more important than matching precisely the columns that you see. I write, my expanded outline is ready. I think I have enough information on paper and it's accurate enough for me to start painting. So I'm trying very hard not to complicate things. And like I said, yellow ochre for the skin in her hair also has kinda warm tone to it. It's love darker obviously, but I think I can start with Aaker on it as well for the highlights. So I'm just going to cover these areas that I see is that warm skin tone and the light really hits her right cheek on our right. So I'm going to just leave white paper there. It's always good to leave a little bit of white paper makes you sketch breathe. I can immediately add a little more pigment in the shadow areas on the skin. And let's move on to her shirt. So I'm using Scarlett lake. It's a orangey red. I think it actually matches her shirt pretty well. So that's what I'm going to just apply everywhere on the shirt. And don't worry too much about memorizing the colors or anything like that. First of all, you'll be using your favorite colours and appropriate colors for your subject. And also will give you the list of pigments that I used for this gauge at the end of the video, inactivity, the couch in the light has that similar tone. So let's just spread it everywhere on the couch as well. Using the same color in several areas will really unify your sketch. That's why I'm talking about limiting your palate and just a few colors. And you can see that I'm kind of drawing with a brush. I'm not just filling in the contour that I drew. Again, for this step is my chance to verify my proportions and my angles. So looking at the model and checking myself. Okay. Here are her blue jeans just filling in the whole area. You see I'm working alternatively with a tip of the branch or with a flat brush because I'm kind of drawing with the brush. This area is a little tricky because she has a book and her needs coming forward. But if we just follow what I see in front of me as accurately as possible, I shouldn't be okay. And I have my paper towel on the other hand to pick up any drips and might have. And I can immediately start cooling off the shadow areas on the couch. You can see me doing that right now. I'm applying the cool blue wash, two shadows on the couch. Same ultramarine blue I used for her jeans. And let's do the same thing to her hair and the mixture of yellow ochre and blew, the resulting color actually works really well for the shadows on the face and on the hair. And at this stage is a little scary thing looks kind of a mess, but just stay with it and keep working as precisely as you can. It's kind of a balance between capturing all those little nuances in the shadows. They have pretty intricate shapes, obviously on the face and on the neck. But again, I'm telling myself not to get bogged down by details and just keep working in big general forms at this stage as much as possible. Alright, let's deepen the shadows on the genes. More local color, more saturated colour in shadow areas. This column using its ultramarine blue, I think it's actually ultramarine blue light. It might be too light for shadows. It works really good for Midtown, but I have a plan and I'm going to bring in another deeper, darker color for darkest darks. So just, let's keep working with our blue on the genes. And as we did with our tunnel drawing when we use Inc., We don't want to break up our drawing into tiny little areas, at least not right away. So I'm trying to see large forms first and then I will be adding details. And I also want to connect my finger to at least three sides of the painting. I'm connecting her to all four sides right here. We're just very simple design with a few brush strokes. Okay, i gave me just a couple of minutes to dry a little bit and now I'm going to add details. And this will be of it like expanded outline, but I'm putting it on top of the color sketch. I am using there venting pens, pencils. They're water-soluble, watercolor pencils with very intense colors. And I love those because you can draw small details with them much easier than with a brush. And you can also smudge them and create a wash with them. So they are very versatile and worked great for sketching and also easier to transport if you go in and location. So again, I'm not inventing things. I'm looking at my model and this is what my fourth pass at proportions in a angles. So let's go over the whole Fugger One more time with water soluble pencil for the column using is indigo. But really any dark color will work whichever color you like. If you had a lot of, let's say oranges, maybe in yellows in your sketch. Maybe using a brown pencil will work better. So it's your choice what color outline to add to your sketch. And you don't have to use a pencil. You can use a marker or you can use ink again in a fountain pen. So just be creative and use your favorite materials. So to achieve this level of detail with watercolor will take a lot of time, which we don't have, right? So using sketching tool like a pencil or a pen will speed up the process and give us the details that we need for finished sketch. It also varies our edges. It gives the right of texture, adore sketch that we talked about in the previous video. So we're achieving several goals at once by using the combination of material of watercolor, pencil. All right, here's my outline. Now I need to blended in with my painting, make them work together because now it looks like the outline is applied on top of the sketch. So what I'm going to do, I am going to debug the shadow areas even more. And you see I'm doing that right now in her jeans. I'm squinting when looking at the model to see those shadow areas that need more color. So for now, I'm just using local color, but in higher saturation, moped meant I'm going to do the same thing on the shirt. I'm just going to apply more pigment to the areas where I see shadows. And my watercolor kind of mixes in with my pencil because it's water-soluble. So I'm starting to achieve a little more unity in my sketch. I see a bit of reflected light on her neck and on the left cheek, on my left from the bright shirt. So I'm going to add a little bit of that warm to the left side of the face. I have IndieGoGo here because I use the IndieGoGo pencil for the outline. Indigo watercolor will be great for just a few finishing touches on my sketch to darken the hair and some shadows on the face like dark and her eyes using a pretty small pointed brush because my sketch is not huge. I don't have a lot of rooms. I need the brush to be an appropriate size for the size of my sketch. And now I'm going to add a few dark accents with IndieGoGo, like we did with the ink sketch. I don't want to do it everywhere. One, just a few intense cool accents were to form starch. So you see that's what I'm doing where she is sitting on the couch and were her arm touches her leg. That will be very dark exons, which I'm doing within Google. And you'll see that my sketch is acquiring that range of tone that I keep telling you. So well, we had the light and the midtone areas and now we gave them the darkest darks. You can do the same thing with watercolor pencils. If you dip them in water, they will give you a very saturated kind of thick line. So that's another option to do this. Dark accents and finishing touches for your sketch. I think I don't have enough color on the genes that very saturated. So I'm going to throw in some more pigment there and the couches pretty pale. Well, in reality it's dark. Of course, I would work on the background only if I have time. But for purposes of this demonstration, I will finish the background below more to have a balanced sketch. And if you took a picture of your subject and things like that, like finishing the background, you can always do after the model moved on. So always a good idea to leave them till the last second. I'll write our sketches done. Let's just review one more time what we'll learn in this demo when sketching with color will, will still start our sketch with pencil outline. Will, will create it using the method of sight measuring. We will first paint all our objects with their own color, matching it as closely as we can, but exact match doesn't matter. Who will then add a cool color washed all the shadows. We can see those shadow areas much easier if we squint when looking at the model, then we will use a pencil or a pen, or a marker to details. And we can also use a small brush to add the darkest accents in the areas where two forms touch to help ourselves to work faster, it's advisable to limit our pallet to 45 colors. And here are the pigments are used for this sketch. It's important to only pick the important details. It's important to have fun with materials and textures. And if you would like to find more ideas about creative combinations of art materials, that you could take my class and mix it up. Creative ways to combine your art materials, where I show various combinations that I use in my sketching practice. 11. Sketching Exercises: If you're serious about improving your drawing skills, it's very important to incorporate short sketching sessions in your daily routine. The beauty of sketching is that you can do it anywhere, even when you're watching TV. As you see from this examples, we can guarantee that you will see an improvement almost immediately. Here are some suggestions on how to organize your sketching sessions. If you only have a few minutes until five or six simple outlines and try not to spend more than one or two minutes on each one of them. If you have a little more time, expanded outline is a great exercise. Again, if you can do five or six of those in a row, it will make great practice, and it shouldn't take you more than five minutes to create each one of them. So that will be your goal if you have a little more time to try develop in your sketch further with some shading, monochromatic wash or even a few colors, but starts with a warm-up with some simple over expanded outlines like you would do with any physical exercise. It's hard to jump in right away. So after a little warmup session, you can move on to a more developed sketch and try finishing it in about 20-25 minutes. That will keep you from overthinking and overwork in it. But hand-eye coordination is a manual skill. And I wish I could tell you a magic secret how to do it and you'll be able to do it right away. But unfortunately or fortunately, all it is is a lot of practice. I hope my class will help you to skip my period of trials and tribulations. And you will be able to draw with confidence, accuracy, and freedom much faster than it took me to learn. 12. Class Project: If a glass project drawn family member or a friend, or you can go outside and sketch people in a park doing some common activities. May be sitting on the bench, browse an Internet, talking to each other, or you can even take a picture of yourself and dropped from a photo. It's all good practice. And let me tell you that you will get better results if first you will warm up with those exercises that I explained in this class with just some gesture drawings, just a simple outline nor with expanded outline. And then you can add some shadows or maybe even some color, whatever you want to do. I hope you share your sketches in the project section so we can all see, admire them and learn from them. Thank you so much for watching this class and I hope to see you in the next one. I'm Tom Arab students YouTube channel. You can find a lot more examples of figurative sketches than with various materials, gesture drawing sessions and other videos on my website and the web.com, I offered to free e-books, ten secrets of successful sketching an aid, secrets of captivating portraits that are illustrated with my figurative sketches. All the links, including links to tear up studios, social media counts you can find on the website Tammy erupt.com, please get in touch if you have any questions about this class or about any art materials or anything else you think I can help you with? I'll be glad to hear from you. Thank you again, and I hope you'll stay in touch. 13. Getting a Head Start on Your Sketch: We can give ourselves the head-start on sketching if we paint the background first, you see a couple of examples here. This was done with acrylics, just kind of an abstract painting. And this one, I just splattered some watercolor. And what it does, it eliminates the white page, which will help veer off. And that kind of hinders our progress sometimes. And then, you know, we already have a headstart, something interesting going on on the page, and then we can continue working on it. I'll show you a few examples. So this was painted first and then I added a pen and ink sketch with some Guassian watercolor. This was done on water color background was just ink. And here I have some big sheets as well. So I just threw her little curve with some watercolor in, sketched on top of it. And here is another example. I also did watercolor abstract sketch, and then I sketched my model on top of it. And as you see, this one is pretty bright, but I still used black to kind of unify everything in this sketch is pretty monochromatic because I already have some code going on in the background and I didn't want to overpower it with my sketch. So just kind of think about those things. Don't go to darken the background right away. And make sure just your colors all work together in the final sketch. So just a few ideas on how to get even more creativity to your sketches. And I hope you give them a trial.