Drawing Fundamentals: Form Modeling | Mark Hill | Skillshare

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Drawing Fundamentals: Form Modeling

teacher avatar Mark Hill, Fine Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Getting Started


    • 3.

      Transferring Your Drawing


    • 4.

      General Form Concept


    • 5.

      Flattening Shadows


    • 6.

      Form Pt 1


    • 7.

      Form Pt 2


    • 8.

      Form pt 3


    • 9.

      Form pt4


    • 10.

      Form pt5


    • 11.

      Finishing Up


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About This Class

In this class we'll be going over the fundamental concepts of modeling form as well as understanding light and shade for drawing. We'll begin with how to transfer a drawing(optional), to filling in shadows, and gradually modeling various types of form. I'll discuss how to understand and interperate what you see versus copying what you see and the differences. 

For the start of the class we'll begin from the finished block-in or line drawing stage. From there we'll work directly to transfering, shadows, and on to modeling. If you don't know how, or are unsure about blocking-in a drawing my first class here covers all that and its totally free. 


Meet Your Teacher

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Mark Hill

Fine Artist


I'm a traditionally trained artist currently residing in New York City. I specialize in traditional mediums from graphite and charcoal to oil painting. I've studied in several places in Southern California, and recently finished my studies in New York at the Grand Central Atelier. I've taught everything from drawing to painting for several years, both publicly and privately. Looking to share what I know and help others on Skillshare!


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1. Introduction: Hi. My name is Mark Hill, and today we're gonna be going over, had a model form and drawing. So in this class, I'm gonna show you how to take your finish block in drawing and transfer it to a new sheet of paper. And I'll show you a couple of different ways that you can do that and just give you some general thoughts on the process. From there, we're gonna move on to flattening our shadows and talk about the importance of doing so and why we want to start our drawings this way. From there, we'll move on to modeling our lights. And I'll talk about just the different concepts that I'm thinking about as I work along from section to section and you'll watch me just slowly build up the drawing from start to finish. And there's gonna be just different things that I'll go over and kind of different, you know, maybe problems that you might encounter as you work on your own project. But ultimately you'll see me take this drawing from start to finish and refine it down to hopefully what is a nice three dimensional drawing. Ultimately, I recommend pacing yourself throughout the class. It's a little on alongside, but that was the only way consort of convey all the information I wanted to get across. It's something that you'll probably get the conceptual idea very quickly, but it's gonna take a lot of practice in order to actually, um, capture those results in your actual drawing. But it is one of those things that's very rewarding. Once when you finally start making those those leaps and understanding and then able to actually translate it to your drawing, um, you'll notice that your skills will start to develop rather quickly. So I kind of just take this class a little slow and just put in the time in practice and you will definitely see yourself improve. Thanks for watching. 2. Getting Started: Alrighty. So before we begin talking about transferring, just want to kind of cover a few things first. So at this point, we are at a finished block in stage. And so all my, you know, shapes and shadows shapes, lines are more or less finalized. I tried to get them as clean as I possibly could. That way there's they're very specific. And I'm not guessing about any of the shapes or anything like that that I made previously, as I was doing a block in. And if you're at this particular point in your own drawing, you're off to a great start. And you kind of accomplished the hard part, at least for now. So we'll move on and talk about, you know, shading and modeling and stuff like that. But if you got a nice clean block in and you know your measurements are accurate, proportions look good. Um, that is ah, big part of just getting any drawing done. So ah, good job in doing that. Um, I do want to go ahead and talk about why we're gonna be transferring, but it's not a necessary step. So if you feel comfortable right now with where you're at with the drawing and you just feel good about it and you want to continue on the same sheet of paper that you're working on. That's great. Go ahead and keep moving. Um, and we'll start talking about some of the other stuff in terms of shadows and modeling. But I do want to talk about why I like to transfer, and I think the overall importance of it. And so we'll talk a little bit about that. The main reason I kind of like to do transfers is, um, about over. It's really more about overall flexibility. So often times I find myself, I've done a drawing and, you know, maybe I didn't do it the exact size that I wanted to. Maybe I drew it too small or too large. So what? I'll go ahead and do is I'll actually Xerox the original drawing and I can go ahead and start scaling it, depending on how big or small ID like toe work. So if it's a drawing that I know it's gonna be just a finished drawing. Ah, and not a painting per se. I might shrink it down, Um, or I might keep it the same size. You know, it just depends on what I'm going for. Or in the case of preparing for a painting, I actually may blow up the drawing and scale it Teoh fit onto a bigger canvas. Um, the last reason I'll choose the transfer is that I kind of treated like an insurance policy . So it's happened to me before where I work on a drawing. I'm modeling, shading, etcetera, and I mess up and that's it. I can't do anything about it. So I'll go and make a Xerox copy. That way I can transfer it. I can keep my original reference it for anything I need to in terms of shape or whatever. And I don't have to worry about screwing up the original drawing. And so I have that flexibility toe preserve the original, have it transferred onto another sheet of paper and continue toe work. And the other thing, too, is is you may have noticed when you do some of these block ins, depending on how comfortable you are, you might end up having some heavy handedness. So in this particular instance, uh, this particular drawing, actually the lines aren't, you know, maybe the cleanest or the lightest, And so you can kind of see here that, you know, they're a little dark here and there. And part of that is the reason that I'm hoping that shows up better on film that way. But this happens to everyone. So by doing the transfer, it allows me to have a new set of lines to begin on and that way, get a better sense of, you know, having like a fresh start on a new drawing. In that way. Again, I'll maintain my original, but I'll have some nice, clean, fresh lines to begin on the next stage of the drawing. So now I'll talk about transferring the actual drawing and how to do so. 3. Transferring Your Drawing: All right. So before we actually begin the transfer, What I kind of like to do first is like I mentioned earlier is I like to make Xerox copies of the drawing eso. That way I can retain the original and then decide what I want to go from there. And so what I'll do often times is when I make copies is all actually print out a couple of different sizes. That way, I have a little bit more choice, depending if I want to go bigger or smaller, um, or in some cases, on like this, I'll go ahead and go. You know, I could go directly to size. Um, and just that way again, I'm just same size drawing, but just keeping keeping the original. Um, and that's one thing to dio. Um, sometimes then, uh, you know, I'll go slightly. Maybe just a touch smaller. Um, and so this is about a 90% you know, So a 10% reduction, um, in scale on that makes it a little bit smaller on may be more manageable. Um, and then, lastly, here I have Ah, what's actually an 85% to scale. So you can see the size. It's a bit bit smaller, but depending on what you're going for, it makes it a little bit more manageable. Um, and you kind of have to worry about a little bit less, so I'll go ahead again, like I said and just make different copies, cause it's not gonna cost you that. Much of the important thing to remember is that we are gonna have the original drawing toe always come back to and reference if we you know, uh, mess up or what have you? Um, so again, you're kind of just getting a little bit of an insurance policy when you make Xeroxes of your drawing. Okay, So I'm going to be using the 85% to scale copy that I made previously on, and that's gonna be my best bet for demonstration purposes. Um, so now, as faras transferring goes, you know, there's a ton of different mediums that you could use to do that, um, can go overall. So I'm going to stick with this vine charcoal here. Um, and we're essentially just going to rub it on the back. Ah, and then trace over our lines onto the other sheet of paper and we will have a very simple transfer now, depending on what other materials that you may have, you know, on hand, it could be a number of things, but, you know, you kind of try and use what you have. Charcoal is not that expensive. If you have to go get some, um, the other option I've used in the past, though, that I kind of like, um is just a very simple graphite powder. And so you can pick this up and, ah, one jar will literally last you a lifetime. Um, and you could pass it on to your Children or whatever, because a little bit goes a long way, so you don't need much, and you could do the same thing. The only difference between the two is that I find that graphite powder maybe produces a bit lighter of a line than mine. Charcoal on. And that sometimes can be problematic. Um, but give it a shot and try both and see which one works better for you. So to transfer, I'm gonna just flip over my paper and take my vine charcoal here and just go ahead and cover the back um is best I can feel free to get very expressive with this to your heart's content. And we just want to cover up the drawing. So, um, you don't have to cover the whole back of the sheet, but just get a nice, simple coat of the charcoal on there and ah, that's gonna be ah, don't do that. Um, it happens. But yeah. Story, my life. So anyway, um, we're gonna go ahead and just again cover the back. And what will do eso that I don't kind of have to cover the whole sheet is I will periodically just lifted up here and kind of see where my lines are and see how much charcoal is covering where it needs to be. Ah, and then I will go ahead and just make sure that it's filled in evenly. Um, again, I don't have toe really kind of bear down too hard. Um, with the charcoal is just enough so that when we actually apply it to our sheet of paper that we're going to draw on that we get enough of a line to go ahead and have it be left on the paper. So I got my transfer taped onto Manu sheet of paper and I'm gonna take a pen here, and we're literally gonna become professional tracers so you can use I use a just regular black ballpoint pen. You might decide to maybe use a colored ink, and the main reason for the difference is just so that you can actually see what you're tracing over if you're using a pen. I've tried doing it with pencil on, and sometimes it's a little tricky to see over the Xerox lines, so I find that a pin makes it a little bit easier for me to follow along and make sure that I am covering everything. Um, and you just kind of want to go over the whole thing. Um, you know, you don't have to press too hard. So with the vine charcoal, because it just sort of sits on the surface, Um, you don't have to press hard at all. It's very It's very just very light on and that will you just get a nice clean line. But take your time. You know, don't don't kind of rush through this process because it's very It's very possible toe, kind of. Maybe you know, just blow through the transfer process, and, uh, just to get it done. But I find that if you spend enough time getting a nice, clean transfer, it just sort of sets the stage for how the rest of the drawing is going to go, because this is still part of the starting phase. So, you know, you don't want to just kind of rush through any step, and so would you can do to is just periodically lift up the actual Xerox in, see where your lines are. On that way. Sometimes, you know, I've sometimes completely forgotten an entire section because I didn't check. Um and that's not fun. So Ah, you want to just go ahead and periodically make sure that you are actually getting the lines you need across, um, and just kind of slowly keep going until it's covered. And from here, we're gonna do one more step before the transfer is what I'd consider finalized. Um, and that's, uh, just gonna be we're gonna basically just trace over it again. 4. General Form Concept: So before we actually get started with the drawing, I wanted to spend a little bit of time just talking about general form concepts. So I have a basic sphere here that's being lit top down with the lamp, and so we'll have a very distinct shadow effect that's happening across it. And so with this was going to try and describe a little bit about what I'm thinking in terms of what we're going to be going over when we start modeling are drawing. So here we have just, you know, the main shadow here and this little line across, um, you know is what we would call the Terminator. And this is where the light and darker meeting on DSO you can see the very distinct separation and it becomes a sort of banding effect. And so, as you know, as light starts moving away from the shadow we've come to get this very gradual gradation is it starts getting gradually lighter and lighter and lighter, and then ultimately reaching a little bit of a peak, where we're going to see a highlight right here and now, just below where the shadow is, um, in a lot of cases, you know, we'll have a nice, even sort of value that's going across here. But now, depending on the surface of the object and everything else that's around it is that we could see some reflected light, which is essentially bouncing up and illuminating the shadow. Um, so I have a little bit Here is I kind of put this knitting needle against the sphere is kind of bouncing and reflecting into it. And so, you know, the dark cloth here isn't necessarily bouncing any light into their, um, you know, maybe just a touch, because it is a bright lamp. Um, So there's gonna be varying degrees of reflected light, depending on the form that we're trying to draw on and how light is influencing or interacting with it. And so the whole time I'm drawing, I'm kind of just asking myself what direction you know or how strong the light is influencing here. So, you know, as I coming from, say, like a really bright highlight, you know, what is the drop off of light depending on what direction the actual object is facing in relationship to the light and now for you. So if we have a complicated form that can change and fluctuate greatly. But you can see here in the sphere that it's gonna be a fairly you know, simple and even drop up of light from this highlight here as it works its way down to the Terminator and to the rest of the shadow below. Ultimately Reese reaching the cast shadow on the on the surface. So now, as we take a look at my cast here and it's being top lit as well, thistles gonna be the brightest portion in my cast on And so that's gonna be something I'm gonna keep in mind because that's the most light. Facing a swell is this little tiny piece down here, and I now have to judge everything else against those couple of things. And what direction? Um, you know, all these little forms are facing the light. And so I'm asking myself, you know, what are the drop offs? You know, as things go from light to shadow, Um, and it's gonna fluctuate depending on where I'm at. And I have all this reflected light that's kind of just coming in here. Um, and that's because just the cast being a white object, There's gonna be a lot of little bouncing light. And so, again, keeping in mind that this'd is, you know, the light is coming from above here. Uh, you know, it's one of these things that this form is gonna have just a nice, gradual rolling effect, as it's kind of tucking under into the eyebrow here and then shadow. And then it's gonna roll out again, um, here towards the base of the cast. But this bottom section here can be nowhere near is bright as the top part because of just the direction it's facing and how close it is to the light. So these are just things that I'm kind of keeping money in the back of my head as I'm observing and when I start actually modeling the cast is, you know, the degree of drop off of light, what angles the forms are facing as well as the relationship Teoh the light source and and what not? And so I wanted to just show the cast in a couple of different angles because this is going to allow you to see what forms are actually doing in space from a slightly different angle than were actually drawing it from. And this is something I would recommend to do with any sort of drawing, whether it's a figure, a portrait cast, a still life of any kind, Um, is at some point while you're working and actually throughout the whole time you're working is that you want to be walking around. Um, you know the subject matter because you need to be able to see all the different angles which things air actually facing. And you can't really do that if you just stay in one position. So I would encourage you to walk around, um, constantly, whatever you are going to be drawing and then theater thing, too. Is it with the cast? Is that eyes nice is if I'm having trouble finding out what angle something is really facing is I can actually take my pencil here and literally just put it on top of the cast. Um, and that's going to give me a better idea of you know what angle is. Actually, you know, the the object itself. What is it really facing? Um, because sometimes it again, if we're just looking at something from a single angle, it can be kind of hard to discern that. And so by actually just going up and literally putting your pencil, um, and tilting it on the cast itself, we can kind of see the actual angle that we're gonna be working from on. And so this kind of helps me, um, kind of decipher if I feel stuck, you know, as you know, is angle really facing up towards the light? Is it facing down? Um, and then, well, you know how you know, how far of a turn is it really facing down or turning up on DSO? By doing that, I can kind of cheat a little bit and kind of get a better idea. And so here's just another quick angle of the cast. Um, that's a little bit different. And again, it just allows us to see by by seeing the object in a couple of different angles and by walking around the cast, we get a better idea of, you know what angles are really facing towards the light or facing away from the light. And it allows us just the decipher things a little bit easier by constantly moving, and we can see how forms or undulating and turning in space a little bit better. So as we go forward now, we're gonna just actually go into getting the drawing started, and then we'll move on to actually modeling form. 5. Flattening Shadows: all right, so I have completely traced my transfer paper and you can see what we have left is our vine charcoal lines. As you can tell, there's a little bit of dust left over. Um, that's totally fine. It's not gonna stain the paper or anything like that will be able to brush it off pretty easy. Um, so now the next step is to go ahead, and I'm gonna just take a pencil and trace over everything one more time. It does add a little bit of an extra step, but what it's going to do is by tracing over everything with a pencil. It's gonna actually go ahead and seal the lines down on, and then anything that's left over, I can go ahead and brush off. And that's really the benefit of doing. The vine charcoal approach is that it comes off super easy, and I get a dark enough line that it's really easy for me to see and trace versus if I did . You know, maybe with a graphite powder that the line is a little bit less dark and it's more faint, but I wouldn't have to erase it afterwards so you can kind of pick and choose how you want to transfer on and go from there. So I've traced over the lines here, and we are going to go ahead and just take a cloth, just a paper towel or whatever, and just brush over everything. And as you can see, all that vine charcoal now comes off pretty easy. And we're left with a really nice clean drawing, which is going to be much, much easier to work into now. Um and so this just kind of reiterate the benefits of doing a transfer, you know, whether it's a cast or portrait figure would have you. Um, this is kind of how I like to approach it. I'm left with a really nice clean drawing that I can now feel pretty confident going back in, um, and starting to model. So the next step before we actually start getting to modeling is we have to start flattening our shadows on. And what this is going to do is it's gonna provide us, um, you know, with a base toe work into so assed faras flattening goes. We're looking for just a nice middle value that's fairly even, and you can start anywhere you'd like. Um, I just kind of start with smaller shapes and then work on to the bigger ones. And the goal here is to just get a nice even tone. So we want to try and avoid any noise or static kind of effect. Um, we wanted to be as flat as possible. Now, it doesn't have to be super pristine or anything like that. It just needs to be really clean, um, and enough to just get a sense of where those shapes are. And I might go ahead. And if I see any sort of discrepancies in the shadows, you know, I'll try and keep go back and clean him up if I have to. Um, But again, the goal is just just be nice and even so, take your time doing this, cause it kind of sets the stage for the rest of the drawing. It's not terribly exciting, but it has to be done if we want the lights toe work. So here's everything filled in and you'll see I have come. You know, I might have, like, little spots here and there, so I'll take an eraser and just try and pick him out, um, again, cause it's I don't I don't want noise in the shadow. Um, you know, if there's a little bit, it's not going to kill you. But if it's if it gets to be too much, it kind of breaks the effect of the shadow. So we can't have a lot of, ah, you know, sort of, you know, lines or, you know, spots or sort of any sort of you know, what we call, like noise or static. We have to kind of clear that stuff out. So I'll generally kind of spend time going back in, especially in large areas. If I have to clean it up and, uh, you know it it takes a little bit of time, but it's necessary to do so. You kind of just have to do it. Okay, so here's my shadow all filled in. I tried to clean it up a little bit, and just so you can see is a comparison. Here's a darker value next to my shadow, and that way you can see that even though without it, you know, my shadow appeared dark. But that cube right there is actually significantly darker. Um, and So the idea is, is that we want to keep our shadow in the middle range, and we'll start getting darker along here in other areas. But for now, we want to just have some some sort of shadow toe work into so we don't want to go to light . We don't want to go to dark, just something that's kind of nice in the middle. And so we'll have a little bit of more room to manipulate it as we start modeling our shadows and we start building out into the lights and all of that, um, so by having a nice middle range, we have the option of going darker, and in some cases I may even have to go lighter. But I just want to have a nice graphic shape that looks even, um, and so when we start modeling and the lights next, we just have a nice base toe work off of, um, and so as soon as we need to weaken, darken or lighten as we go 6. Form Pt 1: So the first thing that I need to start building up is right along the edge of the shadow here, where it's meeting the light is what's called a Terminator, and this is gonna be sort of like a banding effect. You're going to see across a lot of shadows now, depending on the form that they're on, the Terminator can be very distinct. It could be a little bit more diffused, but for the most part it's gonna be maybe slightly darker than the rest of your shadow pattern. Um, and it's just the area where things need to start transitioning from a dark part of a shadow and just gradually built up into the light. Um, so a lot of times, I'll start from my shadow shape and just find that find that line where the Terminator is resting and and start looking at it and see like, Well, how lighter, How dark is it? How broad is that? Terminator? How defused is it possibly getting as it's transitioning away in tow light? Um, and there's gonna be that fluctuation that I'm gonna be looking for. So start there and then once that gets built up enough and I feel comfortable with it. I'll go ahead and start turning into the lights. So I've built up my Terminator a little bit more and got it a little bit darker. So now I feel comfortable where it can start transitioning out of it. I darkened a little bit of the portion up above it. Justus Well, so that way I'm transitioning back into the shadow where the brow is. And so when you kind of begin here, you really want to focus on that little bit of portion as things air coming out into the lights. And the reason for that is, is that's often often times you'll see that biggest degree of turning right as something is coming out of the shadow, and then as you start gradually moving towards the lights, it starts to broaden, and that gradation becomes a little bit more subtle. But it's those really quick turns is as things were rolling in and out of shadow, where that great Asian just really has to be, you know, really convincing and solid. And so I really take my time when I kind of start beginning these things, really try and build that up and you know. And then I asked myself, You know what? You know what? What's this form doing and how you know what kind of turning is happening? And, um, you know, how much of a role do I need to create in that form to get it toe look like it's dimensional and basically through the whole drawing is that those are the kinds of questions you're asking yourself is you know what form A my trying to build. And, you know, if I were trying to depict this form, you know, what do we need to do to get that turning effect to happen? And so that's kind of why it just it takes a while to just gradually build it up so that those turning effects, um, you know, become a little bit more believable. Um, and, you know, sometimes you can't maybe get it right the first time. So, and that's why you just kind of try and do the best you can. And you may have to come back and resolve some things later. Um, but, you know, it's just you want to be thinking about this the whole time you're drawing, and, um and you're transitioning into and out of areas. Now, as we continue along here that you know that working out of that little corner there in the brow, things start to broaden quickly. So then now we have a little bit more light that's coming into that section. But I'm also keeping in mind that you know I can't be as bright as, say, the top corner of the brow that has a lot more lightning. So I'm being very conscious of that, cause what's happening here is that, you know, because I'm working in an isolated area, my eye wants toe sort of believe because all there's there's all this shadow around the shape that I'm working on, and, uh, and it gives the illusion that this is a lot brighter than it really is. So I'm trying to be very conscious of, of not making us to overly bright, because I need to have that extra room for the brighter values in the higher part of the brow. So I'll continue to just gradually build across that form on and work it into the smaller forms of the top of the eyebrow there. And once you start getting into these really broad sections. You know, the gradations become a lot more subtle, and it can be a little tricky to keep it clean. So it's not as hard as building out the transitions from the bottom here. But I have to keep in mind that in order to have that convincing, turning effect that my pencil has to be fairly even. And so as we get into these little tight spaces here, there's very subtle shifts and form, and it's not a whole lot to really make a difference. But there is forms that are sort of tucking under really quickly. So those transitions happened very, very fast. And then things start rolling out just again into the broader form of the brow. So areas like that typically will end up being a little bit on the darker side because there's just not enough transition for things for enough light to get in there. Um, and so you still kind of just build those up real slowly so that the values kind of, you know, are still, you know, kind of in that middle range. But they're not quite as dark as the actual shadow itself, and we can roll slightly out of that, and it's just gonna be like the other. The other bottom part. We're just building a nice, gradual transition, and so was I kind of get to this point here. There's kind of a break in the form right here, and what's happening is is we have this light shape that's now turning downwards, and so we'll get a little bit of a great Asian effect. That's happening because we're having the corner of the socket here. It's starting to shift away from the brow and it's turning into the corner. And so that area of the cast is going to get a bit darker because it's less light facing and so I can go ahead and build up the ranges here, and I'm just kind of keeping um, keeping the pencil and just my value range. That I'm building up I'm keeping that in mind is that I'm hitting this corner plain and there's gonna be a very sort of obvious break from where it's turning into that this little pocket of the brow and then to the corner part where things air shifting downwards, Um and so we kind of have to build that up the same way. But then we'll see a noticeable shift as we start to darken down and turn the form downwards towards the edge of the brow. - And so you can see there's gonna be a very noticeable great Asian, and that's where that break is and it's turning to turn down. And as I'm building this up, I'm still quite a night. Not sure that it might have to go a little bit darker, but right now it's so early that, uh, you know, it's kind of hard to tell because I have nothing else that's built up to give me an idea of whether or not I got it right. So that's one of those things where you're gonna have to sometimes put something in, um and kind of, you know, hope that you got it right the first time. But there's a very possibility that you're gonna have to go back and rework it to get a better turn of form. And in this particular case, this is one of those areas for me in that cast. And so now is a So I'm gonna build up. I have to start thinking from the corner of the brow. It has to now start transitioning into a lighter portion of that top plane. Um and so it's gonna get a little bit lighter over here. So as I'm building up sort of this top plane, what ends up happening in this particular area is it's getting a bit lighter. But then there's also these small sub forms that are kind of happening all throughout this top shape. And my tendency is to want to make them darker because that's what my eyes telling me. But in relationship to the light source, they really can't be that dark. And it's one of those things where I've always had a hard time dealing with things like that, and I have a tendency Teoh want over darken them. Um, so I'm reminding myself, you know that, Yeah, they can't be that bright. So, you know, try not to over darken them. Um, and sometimes we'll end up having a happen anyways, is that I'll make them a little bit too dark at first, and then I'll have to go back and maybe just knock the shapes down a little bit with my eraser. That way, they don't jump out, too much because as we start moving across here, the light is you know, it's starting to get. It's gonna get gradually brighter and brighter. Um, and so all the little shapes that I see happening in these forms, they're all within that bright value range. And so they really can't be jumping out too much. Um, so that's just something I'm keeping in mind Is that work across here and now is I'm kind of getting to like this first major little sub form here. Um, there's a couple a role. There's a rolling effect that's kind of taking place. And, um, you know, within each little kind of sub form that's happening from here and then down towards the bottom. And there's kind of this indentation that I have to be mindful of that it's not. It's not terribly, terribly dark, but again, my eyes sort of perceiving it that way because this little sub form is surrounded by all these things that are in a fair amount of light. Um, and it's one of those again. It's kind of a trick sort of thing that's happening to your eye. Um, and that's where kind of going up to the casts, um, you know, and actually looking, observing And, you know, maybe just seeing it at a different angle. It'll tell you what direction those things were actually facing, so I just kind of have to build these up really slowly. Just be mindful that I don't want to get too dark. And if I err on the side of anything, maybe I want to make it lighter than it appears that way. If I need to darken it later, I can go ahead and do that. But it's one of those. Once you get into an area where there's a lot of little sub forms involved, you kind of have to slow down and really analyze each one and just give it enough attention . That way, you don't have to kind of go back and hopefully, you know, make corrections later, you know, so just it's a slow build up. And when you get to these really complex forms more, you know, spending a little bit more time Well, actually, uh, save you along, save you more time. In the long run, some is going to keep going and just gradually build these little forms up. Try and tackle them one at a time. 7. Form Pt 2: So as I continue to work along here along these kind of small sub forms, I'm very aware of this reflected light that's happening just below and right now, if anything, it's a little too bright. Um, and that's because as I begin modeling in this new section, I really haven't resolved much of my shadows in the forms that are going on in there. So it's one of those things that I'm going to continue to work along into the lights, and then as I get more resolution buildup in the rest of the forms here, then I can go back in the shadows and really start to explore what the reflected light should be. But for right now, I'm focused on as I'm getting close to this really bright area. Ah, lot of these small sub forms, um, to my eye, they appear really dark. But, you know, this is the brightest section of the cast, so there's no way that they can be all that dark because this is the most concentrated area of light. So as I build up these smaller areas, there's a lot of little intricacies that I kind of have to keep in mind as I go along. And a lot of it is also to do with the fact that I need to keep in the back of my head that this area is really bright. And I can't get too dark with any of these small little things that may jump out at me. Um, and it's just more matter of fighting that tendency to do so. Um and just keep telling myself that this is a bright area. So we got some of these smaller sub form shapes in there, and right now, you know, it might They might be a little on the dark side. So, um, but in order to better gauge that, I'm gonna go ahead and start building up more of the light areas in here on and then, you know, most likely have to go back and kind of knock him down and make them a little bit lighter in value. Um, but right now I feel OK by having them in their there. You know, I can knock this down my eraser pretty easily, so they might be a little dark, but let's go. I'll go ahead and actually just fill in the rest of this light shape because this little this little corner here in the in the actual brow I definitely know that this is the most concentrated area of light in my cast. Um and so I know I'm gonna be working within a very, very small range of light values. Um, and so any little sort of you know, uh, change or shift in the form is going to jump out immediately, especially if it gets too dark. So that's one of these things where when you start working in this such a narrow, narrow arrange, especially on the light side. Um, it's pretty easy to mess up. So I'll work a little bit slower and actually really take my time and and get the right kinds of turning effects that I need to happen. Um, I'm gonna have a darker passage towards the shadow on the bottom, but everything here on the top part of the cast is gonna maintain relatively bright on. Then it's gonna transition downward towards the rest of the eye socket. And so I have the top portion of what I would consider the brightest part of my cast here filled in and right now, the values on just kind of the changes might be a little conservative, but I'm going to continue to build up the bottom portion here as it's really starting to tuck in and roll into that deep socket of shadow there. And that's gonna be where the big effect takes place. It's it's not really going to be so much the brightness on top of the cast here. It's really gonna be more about these, the lower part in how convincing of a rolling effect that I can build up in these little areas, um, in the corner here. And so I'll spend more time there because I'll have a little bit more flexibility in my value ranges to really get something that's convincing, Um, as things start turning and tucking under. And so there's a couple of small, you know, little sub forms that I see. Um, here and there in in kind of the side. Uh, and that's just kind of some irregularity in the plaster cast. But, um, having those in there well, kind of, you know, just help kind of get a better sense of of the turning effect that's really gonna take place in this area. So now that I have the rest of the top filled in as I can start building up the values in my shadows here and so what I'm looking for is I kind of start feeling just under the socket is now. It's gonna make the brow just above it start to turn a little bit more. And that was one of those things it was kind of hard to see earlier because I didn't have a darker range underneath it. But now, as I'm filling it in, I get a better sensation off that nice sort of. You know that that that big form that's really turning under and by kind of injecting some of these darker values that are deep, deep in sort of the where the eyelid is it's making that come forward a bit more. And so I can kind of just, you know, I can go ahead and build this up the shadows, and I'm really just right now, as I'm feeling in the dark parts, I really want to make sure that what I've already drawn in the lights, um, is getting that, you know, feeling of turning. Um, and it's one of those things worth. If I feel like it's fallen short a little bit, I can go back and and maybe working the lights again toe to make sure that those forms feel rounded. But I'm gonna go ahead and and actually just fill in, you know, the rest of the shadow. That way I can kind of get that area, you know, sort of done and resolved, and I can make corrections later. So there's a lot of information happening in the eye itself, and so I'll put a little bit more info in there. But once I get to large areas like here, you know, even though there's some smaller sub forms, um, you know, that are happening in there. It's a big area of shadow, so I may not put as many details in there is. I would in the eye here because I think that the eye of this particular cast is is for the most part, it's the center of interest. I think we're is here. It's a big you know. It's a little bit more ambiguous, you know, in terms of it's a very broad shadow. And so as I continue to darken along here, I'm giving myself a little bit of room for some of that reflected light. In the end, a lot of it will get covered, but I at least kind of want to know where it is before. I kind of completely just lose it all together into the large shadow Mass. And it starts getting closer and closer to the interior of the socket. We get some smaller sub forms that are sort of happening deep in that in that shadow. So I want to come and leave some room for that. But for the most part, I'm not gonna have as much attention there is. I am in the shadows that are actually in the eyeball itself. And so there's a smaller There's a couple of small forms a zits, basically the orbit killer muscle under the eye and, ah, kind of keeping track of those as well. But again, for the most part, ah, lot of the shadows need to be relatively simple once we get to these large areas. Um, and it's one of those things. Now is, as I have most of the shadow in, uh, you know, for the most part, it's filled in, but you can see that my reflected lights now across or the eyebrow is there a little bit too bright? Um, and so that's one of those areas that, you know, it was hard to see just exactly how light or dark they were until I got this shadow filled in. Um and so now that I kind of have a better gauge of of you know, how dark this shadow is and whatnot, It's one of those areas that I know I'm gonna have to go back to and really just kind of knocked down. That reflected light because right now it's jumping out a little bit too much, and so all common gradually continue to dark in certain parts of the shadow throughout this area, and especially once I get to the interior of the eyelid, um, are in the, you know, the very deep parts of the I. There's a lot of little bouncing effects that are happening, and so I may not, you know, have all of them in there. But I at least want to know the shapes, um, that are kind of resting in those areas because it's something I have to kind of keep just a hold of and kind of manage these little shapes, but, um, continue to fill in the shadow and, uh, just continue on. 8. Form pt 3: All right, So the majority of my shadow is now pretty much filled in. Um, and I've kind of darkened it down, and I've knocked that reflected light down quite a bit. So I feel like there's a little bit more cohesion going on with my shadows and the reflected light. So now that I've have that sort of taking care of, I can start building out from this eyelid. Um, and it's one of those things where this shape is sort of interacting with the shadow, you know, pretty heavily. So I'm gonna have to kind of keep in mind that, um, this piece of information that is partially in the light partially in the shadow. Um, in this area right here, it can get too dark. But as it continues on, its going to trail out into a brighter area over here. Um, but as I'm working still kind of in that kind of halfway shadow area, uh, you know, the values, you know, my eye is gonna tell me that these values want to be pretty bright, you know? But again, it's this little chunk of light that is surrounded by all this shadow mass and so In reality, it really can't be super super bright. So that's something to keep in mind. And these little effects were happening all over the cast. And and that's where I had kind of have to sometimes go up to the cast itself and and really see, you know where exactly is this particular piece of information? What is its relationship to the light and what what angle is it facing at? Because you know my eyes gonna sort of deceive me and tell me it's, ah, you know, brighter than it really is relative to everything else. And then, as I continue to build us up to, I'm also kind of building up some of the Terminator across the top of the eyelid, and there's a little bit of a reflected light underneath there as well. Um, and so then that's just another area that I'm kind of getting built up together at the same time and the rolling effect that's happening through that island because the form is a bit smaller. Those great Asians are very, very tight because it's such a smaller form on, So I'm kind of taking my time building that up. And so now the majority of the lid is kind of filled in there, and in this little corner, I have a pocket of light that I have to be really careful of. Because again, it's one of those areas where I'm getting a little section that is appearing brighter than it really is. And again, it's just because this area is surrounded by a lot of darker values that are kind of transitioning all in this one. Little point, Um, but I'll go ahead and continue to kind of build up the form here and cause I really want to get that sense of a rolling effect that's happening in that eyelid. Um, and so they all kind of spend a little bit of time cleaning that up. And now, as I continue into the actual interior of the I, there's a lot of reflected light that's happening in these areas, and right now, I'm not sure exactly how much is gonna get left in. But I'm gonna look for the major things that really stand out. So all even squint down my eyes a bit and actually see what little pieces of information jump out at me the most. And that's just kind of a clue of telling me like, OK, you know what? Maybe these really should be in here. Um, if they're jumping out that much, So, um, it's one of those things where I'm gonna have to micromanage a lot of little tiny shapes. Um, but I always, you know, I'd always prefer to kind of have some information. That's maybe a little too, You know, it's kind of to flushed out in there at first, um, and have the option of kind of then going back and maybe playing it down a little bit more afterwards. So But I want to make sure that I account for all of these little subtleties in there that we have a better sense of what's actually happening in this particular piece of form because there's a lot of little lines here that are making smaller sub forms on, and there's lots of little jumps that are occurring in this one particular area. So I'm just trying to be mindful of that. And then I can, you know, figure out afterwards how much I want to really leave in and what I want to leave left out . And so, as I start working in towards the pupil of the eye. There's again in this particular area. There's a lot of reflected light that's happening up until the top of the lid. A swell as the actual, the little cut out for the pupil as well. So there's gonna be a gradation of value that's happening across the island here. Um, and that's also happening because as we get closer to where the tear duct of the eye is, we also have some of that reflected light bouncing in in there as well. So there's just this transition of value that's happening all cross through this I form, Um and so I'm just trying to be careful, uh, with just how dark and light I'm getting in certain areas. Um, but it does need to be built up a little bit more, and that's gonna make that reflected light, that little banding across the island jump on and that something will probably have to go back and address again as well. We'll continue on and and start flushing out some of the, uh what would be sort of the iris of the eye here? Um and ah, for the most part, it's it's kind of it's kind of an even. It's an even gradation of form across here until I get to the very edge where there's kind of a cut out in the form on its becoming like an indentation of how the actual cast was sculpted. And so I'm just trying to be careful of that. Eso I have that line, these couple of Siris of lines that are happening and and so it's one of these things where it is technically a sub form s. So I have to be careful with how I'm building that up. But for the most part, the rest of the eye is kind of a fairly, even great Asian That's occurring. And so I'm gonna stop right at the line here. In that way, I kind of can go back in and fill in that little band of of ah, of white that's there and knowing that I'm gonna have to deal with a sort of a sort of a step down effect that's happening there. And so there's gonna be a little bit of differentiation is that form is kind of tucking in , um, into that little cut out and then it kind of rolls off on gets a little bit lighter. And so I have this little shape underneath here that is almost sort of like a little shadow . But when I originally started mapping out my shadows where the rest of the cast is, I didn't want to include it because I didn't I didn't feel it was strong enough of a shadow . Um, Teoh have it is part of the eye here, so I figure I'll go ahead and build it up once I actually got to the modeling portion of the iris. And so it has its own little Terminator, in a sense, but it's kind of defused, so I don't have a strong of, ah banding effect, as I do in some of the other areas where the shadows more prominent and I also have a little bit of reflected light underneath that I'm also kind of keeping in mind how light of a value um, I'm going in that in that particular area. But Theo edges here are fairly diffused, so I'm gonna those are going to start bleeding in into the rest of the iris, and so they're not gonna be as specific A. Some of the other shadow shapes are. And so as I continue along here, um, I just kind of have to keep filling in the rest of this. And again, we're getting to the tale of some of that small little shadow shape, and so it's gonna be a really diffused area through here. But there's still a lot going on. Uh, as I'm working through this section in terms of the great Asian that's happening, Um, and still just keeping in mind Of all the small shapes, there s Oh, it's one of those things. Where and this I think this is one of the harder sections of this particular cast because there's a lot of little things in such a condensed area. So it's It's one of those, uh, times when you really want to slow down and maybe take a little bit of extra time to really sort things out. Aziz, you continue along and I'm trying to work around. Um, you know, there's a little bit of a bright shape, um, that you will see where the pupil is, and that's sort of the brightest section of the eye that jumps out at me now. It's not going to stay that bright, but it is one of the brighter areas, and so I'm trying to keep the area clean so that when I go back in and start modeling that little piece of form, it's a clean area to work on. So no one left with this little tiny piece of form that I'm gonna just very, very gently kind of fill in. And again, it's a very subtle transition. Um, but it's not as bright as I have it right now, so it's I kind of have to fill it in a little bit more. But I'm just trying really cautious because it is. It's kind of just a very small, little tiny piece that's transitioning into the other part of the eye. So just a lot of, you know, a little bit of a subtle subtlety happening in there. And so I'll take my time to really kind of gauge just how much lead is going down in that particular section. And so this last little area here gonna be one of the darker portions of the eye as well, because it's so close to that big shadow shape on, and it's just there's not really a whole lot of light that's getting in here. So it's gonna be on the fairly on the dark side in terms of value. But I'm gonna again just treat like anything else. I'm gonna transition out of the shadow shape that's cutting across and just let it, you know, slowly let that great Asian creep up to the rest of the I. And there's a little tiny bit of ah, cut out again from that line from how the cast was sculpted on. So I'm being mindful of that as well that there's a little bit of a small sub form that's taking place in a very small area. Um, but again, still just want to just make a nice, subtle, great Asian happening and build it up slowly. And then once we have that in there, we're gonna have a much better idea of how to transition into the lower lid in some of the other parts of the eye as well. And so we just keep going here and get this last little shape filled in 9. Form pt4: So now that we have the I filled in, we can start transitioning into the island here, Um, and again, it's one of those areas here where there's a lot of stair stepping that's happening because we're getting the top section of the eyelid, Aziz. Well, as it the way it rolls down into the lower lid. And so I just kind of treat it like a section at a time and, um and then move on to the next and just build it up slowly. Um, the tricky part with this, though, is that this lower lid at least, this this particular top shelf here that I'm drawing is fairly light facing. So I'm keeping in mind of you know, how bright this particular area is. A zai start going along here. Um, and I might have to build up some other values. Um, like this little terminator across the lower, um, lower lid, just so that I get a better sense of how bright I'm making everything else. Um, And again, it's tricky because there's thes light values that are right next to these really dark values. And, um, and it's just a constant battle of, you know, How lighter, How dark something really is in relationship to the light that's hitting it. So as I'm building it along here, I decided to go ahead and build out that Terminator on the lower lid there. And that's just way I have somethingto work into, um, this area through here is that that area isn't particularly like shadow, but it's a dark enough value that is going to allow me toe work into the lights on that lower lid. Um, that's facing the light right here. And so I just kind of wanted to put it in that way. I had a nice little value toe work out of and again gauge just exactly how bright I'm making that particular area, because it's just it's kind of an even banding that I'm seeing across this lower lid on. And then there's a brighter portion where the eyeball is actually cut into the lower lid. And so I'm trying to just kind of have a better gauge of these little subtle areas that are happening through here, and by having a little bit of that dark value in there, I can I feel like I have a better way of estimating, um, you know exactly what range I need to be in. So I started injecting some of the value ranges through this lower part of the lid, and, um as it's really starting to turn down on and sort of tuck into where, like the cheek would start. Having these values in here is going again. Just help me gauge how bright the top part of the lower lid really needs to be. Um, and these value ranges through here. Getting, you know, almost almost as dark is what some of the shadow is. But but they are a bit lighter because, you know, when I squint down, the shadow still really jumps out on, and these are a little bit more subdued. But if it's it's enough of a range that really allows me to see, um, you know, a very distinct rolling effect. And on then, as its meeting to the top part of the lower lid, that's where it gets significantly brighter. And with more that filled in a zai start going back into the top part here, Um, again, these values air gonna be a bit lighter because these air, when you think about it, this This shelf ing That's kind of happening across this lid here. It's it's facing the light pretty well. Um, so it is gonna be one of the brighter areas of the I, Um, but its all relative so it can't get too bright as the top part of the cast was when we first started. But in the overall spectrum of things, it's it's gonna be fairly bright. And so as I'm working through these areas, I'm just being very, very careful with how much pencil is actually going down, Um, again, Because I wanna have some flexibility, Um, with you know, how dark and how light I'm going. So if anything, because I'm working in a bride area, I'm gonna error on making things a little bit lighter at first. And then if I feel like I need to go back in and and and darken them down, you know I have that option. Um, but just knowing that I'm working in a bright area, um, I always feel comfortable making it a little too bright at first versus too dark, which is a lot more work to go back and fix. And so just to continue to work along the lower lid here, Um, this is gonna be one of those areas. As as the lead starts getting a little bit more broad into the corner of the eye, all the little value ranges in the form here are gonna have to be fairly, even inconsistent. Um, and so I'm just gonna try and be careful about any sort of, you know, spotty nous, um, that I can create when I have to work in such a clean and broad manner. So in these areas throughout this particular section, I just have, you know, I'm kind of trying to work slower. Um, not because I have complicated sub forms, but, um, just being mindful that these areas need to be really kind of smooth and on, and the tone needs to be fairly even. So, you know, just kind of, you know, take your time when you get to the big sections like this. Um, it's not about, you know, the complexity of the form, but three appearance of it, looking nice and even through a very large area. And as I continue along here, um, with the lower lid mostly filled in Aiken work, start working back into this top shelf of the lid, Um, and really start picking out some of the subtleties because there's a lot of little kind of small plane changes that are happening all within this one little piece of form. And it's tricky because we're working in such a bright area and I don't have a lot of room to make those changes or to get the illusion of this piece of form that's turning and tucking under into the rest of the lower lid. And it ultimately becomes sort of this like back and forth thing where I might go a little too dark at first, um, and then I'll have to lighten it. And then I'll have to start comparing it to everything else that's around it, Um, and you kind of just go back and forth, kind of shifting your values and how you're developing the rest of the form Intel. It just looks right, um, and so I have a little bit of room to play to get that effect. But it's not much, because again, this this particular piece of for Miss is facing the light on, and so my range is very limited toe work in, um and so I just kind of have to go and maybe pick things out with my eraser. Um, or, you know, maybe add a little more pencil to certain parts of the areas that need it and just keep kind of go back and forth and tell you feel that, you know, Yeah, this feels like a piece of form. Um, and you'll encounter in lots of areas on casts or you know anything for that matter, where you kind of just wrestle with a particular section back and forth. And you just kind of have to keep keep fighting for it Until you finally reached that point where it starts to feel more volume metric, um, and then you'll know you have it. And so as we continue, we can. I've kind of flushed out the rest of the lower part of the lid here, and I feel pretty good about the way that top shelf of the lid is looking. You know, it's something I might have to go revisit afterwards. But for now I feel comfortable enough to start moving on, and so is a transition into this lower part here again, it's one of those areas where it's not a really competence, not complicated sub forms in this area. But everything just has to be nice and even and is a start transitioning down into the lower part of the cast here, Um, that's gonna be more of the cases. Well, because we're gonna get to these large, flat areas, um, that they really don't have a lot going on in terms of what the forms are. Um, but it's a very smooth and even gradation as they're going down and across on. And so it's one of those things where I'm just gonna have to be more careful with how in putting the pencil down and, um, avoid, you know, any sort of like spotting nous or inconsistencies the way I'm putting down pencil, um, and, you know, and then I have a little bit of shadow left here, but it's kind of more of a you know, an uneven um, you know, shadow. So it's not really part of the main big shadow here, but it's kind of a trail off of of what's left there. And so I'll fill that in a swell before I start working on the rest of the base of the cast 10. Form pt5: So I got this little extra shadow piece filled in, and now I feel comfortable enough to start working on the lower part of the cast. And so again, what it's gonna be is that it's we have these areas here that it's not really complicated in terms of the forms that are turning. Um, it's really more that we're gonna have this very broad and open, um formed. It's going all the way across the lower part of the cast, and the hard part about that again is just keeping everything nice and even, um, you know. So the tendency is once we get to these very large, open areas, um, because I have to gradually build up my tone regardless, you know, there's a lot more opportunity to kind of get this unevenness or spotty nous in very large areas. And so that's one of those things where I'm I'm gonna have to go in, and I'll put you know, the form in and lay down the tone. But there's gonna be a lot of back and forth where I have to start, you know, maybe taking out little spots of areas or anything that's inconsistent across the major forms. I'm gonna have to go and just make sure that it's clean. And that's kind of what the majority of this lower part of the cast is gonna be. Um, I feel like at this point, you know, we're in a good spot with everything else in the cast. And now it's just kind of, you know, finishing up this lower half and making sure that everything is just nice and even all the gradations look, you know, uniform and, uh, and go from there and just continuing along. You know, there, this this or vehicular muscle just beneath the eyelid. Here there is a very small rounding effect that is happening. It's very subtle because that particular form, um, it's not particularly Ah, you know, convex or anything like that. Um, it's just it's very subtle, but there still is a great Asian that's occurring. So I am gonna build that up and then just gradually continue it along into the lower part of the cast. And again just really making sure that this whole area just looks nice and even, you know, and if I get a little spotty nous here and there, it's OK. Um I know, at least for me. At some point, I don't I don't feel like I have the cleanest hand or anything like that. So I know it's gonna happen to some degree. Um, so but I don't worry about it. You know, I know that it's one of those things that I can go back in and and clean it up and make it look uniform. So I try and do the best I can the first time. That way, it saves me a little bit of time in the long run. Um, but it's just difficult, honestly working. And I've always had trouble doing large uniform areas on guy. Just find, at least for me, the nature of kind of graphite and keeping it super clean across a very large, expansive area was always a little bit difficult. So I've always had to kind of go back and just clean up areas here and there. And, you know, eventually it looks all right, but always working up and building it up that way. Um, was always a little bit tricky for me. Um, but, you know, with time, you get better at it in, um, you know, again having the opportunity to go back in and just kind of clean things up with your eraser makes it a lot easier as we continue along the lower base here. What's happening is there's a little subtle curvature that is happening on the base, and you can see at the very bottom we have, like a very gentle sort of s curve. So I am thinking about that a little bit, as on the right hand side of the cast, we have just a slight, billowing effect. And then as it gets closer to the left hand side of the cast, it starts curving inward and becoming a little more con cave on dso those areas, you know, the amount of change that's actually happening in that particular form isn't very large, but it is in there. So I'm trying to, you know, I do want to account for it the best I can, but in a lot of ways again, what it comes down to in these particular areas is more about making the gradations just very even, Um, and making sure that you know the base versus you know, some of the very few sub forms that air in here Don't feel too detached from one another because ultimately we're dealing with just we want the uniformity of the bottom part of the cast all feel cohesive. And so the tones here have to be nice and even, and the gradations all have to sort of fit seamlessly together a zai build them up. And just as that work in sections, I'm trying to just fit one section into the next. And in that way, just the tone feels, you know, very even from one little piece that I work into into the next. Um, and, you know, because I'm working in a light value range, there is a little bit of room for error, you know? So if I were working in a darker range, um, you know, things might be a little bit more noticeable, but, you know, the shifts that happen in these areas are very subtle. So if I need to go back and rework things or change anything, it's not too bad to do. But, um, you know, it's it's most of the values here are gonna be fairly on the light side, and so I'm airing, You know, if anything you know maybe a little bit lighter than what I need to be. Um, that way I can go back and make changes a little bit easier if I have to. And so as I start connecting to the other side here, I have a little bit of this small sub form. Um, that's kind of just popping out. And the range is very, very small. And as I get to the edge of the cast, they're sort of like this little lip that's happening on the left hand side before it actually gets to the side plane of the cast. And so that's why I'm seeing this little fluctuation of form here. And it's not terribly, You know, it's not a big, you know, shift in form. That's a big turn or anything like that. But there's enough where it is influencing the light effect that I'm seeing on the cast itself. And so I'm gonna put that in and just kind of gradually build it up into the rest of the base of the cast. That way, they kind of just, you know, flow in, you know, from one transition into the other. And then I think it will be much more noticeable as I start building up the side of the actual side plane of the cast because we're gonna have a bit darker of value to get the front part of the base to pop forward a bit more. And so we have most of the lower part of the base here that's all filled in, and I'll go back in and just try and clean things up or any sort of spotty nous or unevenness that I see. You know, I want to go back in and try and make those corrections. And you know, if I have to take stuff out with my eraser or add a little bit more pencil to make it even , and I'll go ahead and do that. And then we have this other little tiny piece here, right at the very edge of the cast, and and that's where it's meeting. Right next to the actual side plane is we have this little tiny piece of form that's kind of making its protruding out just a little bit. And that's just the very tail end of kind of where the cartilage of the nose, um, would kind of begin on. But Instead, we have, ah, you know, just the end part, and then a flat angle on the side. So we'll continue to fill this in. Um, And then I think, you know, by the time we start adding in our side plane, which is significantly darker, it's gonna get the rest of the cast to kind of pop forward. Um, as we start feeling that in, so we'll move on to that part next. 11. Finishing Up: And so as I start filling in this side plane here, what I'm hoping that's gonna happen is that because this plane is really turning away from the light source, it's gonna be fairly dark. And so by kind of getting that value in there, it's gonna hopefully make all of this come forward now. Um, and it's one of those things where I kind of waited to do this at the very end. Only reason being is that I knew it wasn't gonna be, um, anything terribly exciting toe work on. So I just wanted to just, you know, it's it's not, you know, we're kind of modelling a flat form, so it's not, you know, there's really not a whole lot going on. So I knew it was gonna be something quick that I could just fill in at the end. And so as I start feeling the rest of this in, I'm able to see kind of as these. These front planes now are starting to jump out at me a little bit more, which is kind of a good, good thing to see, and there's a little bit of fluctuation in there in that side plane as it's turning, and that's just sort of the shape of the cast that's dictating that. But by having these dark values in there, it's really starting to come forward now. Okay, so with my side plane filled in, I can now focus on the top plane here. Now the value range through here is gonna be fairly light as well, not as quite as the top part of the brow, but still fairly light. And there's some small sub forms that are on the top here because in reality it's not actually perfectly flat. There's a little bit of undulation that's happening, and so we have these little sub forms that are gonna kind of make a little bit of difference on the way the top plane looks. And so I'm just filling things in lightly. And as I reach a little sub form here, it is one of those things where again, it's my eye's gonna want to think that it's a lot darker than it needs to be, so that I can kind of create that illusion of there's this sort of div it in that top plane . But in reality, the value range there is still fairly compressed and and still fairly bright. So I have to be careful with that. And through this area, it sort of becomes like the bottom plane of the cast, where it's just it's a very sort of open, expansive area. That's just kind of the gradation of tone has to be fairly even inconsistent. So, uh, I have to just be a little bit light handed and making sure that I don't have any sort of, ah, you know, wild inconsistencies and the tones that are going down. So it's just gonna be a nice and even great Asian through this area. And so just continuing along here again, it's a fairly even tone that's happening across this particular top plane. There's a couple more areas where there's gonna be slight little deviations where we have little tiny sub forms that I'll have to go in and and just kind of really delicately handle and make sure that they're accounted for. But they don't jump out too much. Okay, so now we have the top plane filled in, and for the most part we can kind of take a deep breath, because now the whole drawing is filled in and so earlier I mentioned that, You know, when we work from section to section, um it's a little tricky to kind of see how the entire drawing is being made up from the beginning until the very end. And so you always strive to kind of make things. Um, you know, look, you know the best you can the first time you draw them, But that doesn't always happen. And, you know, I've found that, you know, no matter how much you know, I've tried. There's usually a few things that I kind of miss along the way. And so when I get the whole drawing filled in, I now have the opportunity to go in and just kind of start reassessing everything. And so there's certain areas, like here in the corner where, you know, it just didn't kind of feel right. Um, the first time I put it in, especially after I got a few other things filled in after it. So, you know, there's certain areas that I'll kind of start looking at and saying, you know, does the form really look convincing in that area or, you know, are things turning or facing towards the light the way I want them to. And, you know, does the form look convincing? And if the answer is no, then I kind of have to start asking myself questions as faras. Well, what can I do to make it look more round or to get the light toe look a certain way across the whole, the whole thing? And then you kind of have to start dialing that across the whole drawing itself, so it might. Certain areas might need more attention than others. Um, but I kind of now then start dissecting the drawing down again. And so this is one of the reasons why, um, doing a drawing this waken you can see it takes it's very time consuming. Um, but, um, I find in terms of just learning and training your eye to be a little bit more analytical, toe what things are actually doing, um, with how they interact with the light source. It's just a great way to practice drawing. And so I can go ahead and and just kind of nit pick little areas here and there. Um, and it's not sometimes it's not really a whole lot of extra work, but it could just be a matter of spending a few more minutes on an area to really, um, just either clean it up or again, just kind of make the form a little bit more convincing. Um, but I wasn't able to do that earlier, because I didn't have the whole drawing filled in. Um, and so, you know, I can kind of spend a few, you know, easily A few more minutes, you know, in certain areas on sometimes maybe even a few extra hours on the drawing, just trying to dial in little tiny things that I may have missed the first time when I was working across specific areas. And so I just kind of, you know, look to certain areas and make comparisons from my drawing to the actual cast and, you know, really start looking about what? You know what areas really need to kind of get, you know, either fixed or even just, you know, touched up a little bit. Um, but again, it's it's really just small things. So I'm not having to make large changes by any means. I'm just looking for areas that, you know, Maybe the first time I worked on, um, I may be overlooked. You know something, or or in certain cases, maybe the tone could be a little bit more even. Um, but it's just subtlety at this point, it's nothing major eso this process again at this part. You know of the drawing it could take, You know, we could take several hours to kind of go back over and, um, you know, work reworked these areas, but it's one of those things where by putting in that extra little bit of time, it can actually make a huge, huge difference. And it's worth it in the long run to do it. But I will say, though, once you reach a certain point on, you know, there's only gonna be so much you can do for a drawing. And and after that, you know, sometimes it is best to just kind of wrap it up and because there is going to be some sort of diminishing return where the extra hours you spend on the drawing aren't gonna make that big of a difference. And so you know, I'll keep going until I feel like, you know, I've reached a certain point and, like, you know, what? That you know, this is it for that drawing. And, you know, I did the best I can. And, um, then I think sometimes it's best toe, you know, if you're working on, you know, different projects or you're planning on starting another project, Sometimes the energy is best spent on a new project. So every drawing will kind of reached that point where you really can't do a whole lot more , um, to the drawing. And, you know, maybe it's you've reached, you know, a certain level of you know, this is where my you know my knowledge, uh, you know, sort of stops or this is where I'm at skill wise. And after that, it's really just more amount of doing more matter of doing another drawing, um, and just kind of continue to practice. Um, and whatever mistakes you make on one project or another is you kind of keep those things in the back of your mind for the next one. Um, and then you just kind of gradually get better and you start learning. You know what your habits are and, you know, maybe good habits, bad habits, um, you know, or anything like that. Or maybe there's certain areas that you get Teoh in a drawing that you perhaps struggle on . And those are things that you kind of keep in mind. Um, you know, as you begin a new project, um, you kind of just gradually accumulate all these hours of, ah information from doing your own drawings. And, um, that's kind of where the growth happens is just kind of just the continual practice of just , um, you know, you're just kind of grinding away and just, you know, all these drawings doing these kinds of drawings take hours to dio. Um And so even though this video isn't terribly long, um, you know, I do want to keep that in mind Is that this drawing itself probably took, you know, 30 plus hours. You know, maybe, um, we didn't really keep track, but, you know, it's a it's a considerable amount of time. Um, so I think if anything, you know, as you do, these just, you know, be always be patient with yourself and just know that it is a long process, and, um, it's not gonna happen overnight, and you just really got to take your time and but enjoy that part of it. You know, it's a very methodical thing, but, um, at the end of the day, always, always, you know, felt that it was very, very satisfying. You know, when you complete a project and, you know, maybe it's not the best drawing in the world that you do, but, um, you know, even if it's not, you know, I think you know, I've learned more from drawings that I failed on than ones that I thought were successful because, you know, I had to struggle through them and, uh, you know, uh, that was part of the learning experience. So hopefully all this made sense and, you know, you got something out of it. And, Ah, like I said, it's really just more matter of continual practice and just really taking everything very slowly and allowing yourself the time to just go ahead and and really sit down and focus. And, um, just give it the best effort each time you go and sit down and draw. And, uh, thank you for watching