Transcripts
1. Introduction: Welcome to my class on form. My name's Jennifer more yet a professional artist And I'm also retired University art professor. This class is designed for any level, way begin learning the necessary drawing skills that are needed to make form, which are geometric and biomorphic forms. Did you ever just look at a for and not even know how to begin to draw it or you do draw form and just doesn't look right? But you don't know how to fix it? Well, the gold this class is for you to learn how to draw simple form from observation. Here are some of the drawing skills recovering class Constructivism were using transparency additive, form subtracted form. We start building form and constructing form through these ellipses ribs. This is just coupon. It just your creative juices will just flow. Now what can you do with the skills that you're gonna be learning in this class? They could be applied to figure to drawing character animation, painting graphic design, just to name a few Carolyn drawing materials need for class a 12 by nine inch drawing pad, Milena or H two h h b two b a four b pencil and an ebony and an eraser. Let's get started with one begins. I can't wait to see in class
2. 2D to 3D Form (part one): in this section will be looking at two dimensional shapes and creating three dimensional forms. Basically, duty are shapes their two dimensional shapes. The three shapes is our most important are your square, your circle and your triangle. Shapes are something that have edges to them. You can put them in front of each other. You can do different things with it that they don't have the depth. They have the height than the with, but not the depth. Let me begin with working with these three shapes and how we can construct them into something that's three dimensional. I have my two dimensional shape off the circle. No. How do I convince you that this is a three dimensional bull versus something that's two dimensional? I want to go work in my pencils and I'm going to be starting to draw and talk about different things. To create this as to pay Come a three D form. A light source is very important. To see this form, I'm gonna ply the light source up above and directly onto my object here off my sphere. My light source is directly hitting on top of the bowl about right here, so that's going to be my lightest part of it, and you can see the shadowing underneath. I'm going to begin drawing this. You get an idea of what I'm talking about. So when I say it's about right there kind of place it like this under my paper, I'm working with my to be so I'm gonna go in the middle section and I'm just going to create hatching to create this three dimensional object and will be working with my HB, which is coming up closer to the center. It's a lighter value tone on my pencil. I'm going to race for this lineup here. That's just to indicate where I wanted to leave the white of my people. And I'm doing with my for age. Puts a little sketchy now, but we're going to refine it. I'm gonna come through with my two h and blended in through here just by going over this hatching Go my to be again and I'm going to start adding pressure, getting dark for lines coming close to the edge, getting it very nice and more salad looking to really see this clearly and look very carefully. Another object you can look at. It's also on egg, which will show it a lot clear. But right around here, what happens with the light? It loops around this object, and it has what they call a reflective light. So it lightens up right down in here so that light needs to appear. You don't want to go all the way to the edge because there's a reflective light right there . Otherwise, if you do, this wouldn't look three dimensional. Trying to blend down a scare, please, I can. Down here is my shadows, which are gonna be very dark. Can you conceive clearly from a reflective edge? I'm gonna play and come across using the eraser. I'm just gonna blend it up, blend right into it. So you get to see more of refined image of it. Come back with my highlight. There come back rated here a little bit better than what I had many hands. A little bit more of some darks going home or hatching. You know, we have our highlight. We have a reflective light and our shadow all together we've created a three d form. Let's go to our next section and see what we do with these shapes.
3. 2D to 3D Form (part two): in this section, we're gonna be doing two D to three D and four part two. Nothing done our sphere from the circle. Let's work on using our square and making it into a cube, our triangle making into not only a pyramid but a cone, our rectangle and also cylinder for set up with the square working with the pan just so it's easier for you to view. It started to see just a pencil lines, and then I'll pencil it in and with the square. Just draw this square as it's now when you're making a cube. The Cube deals with perspective that it could be above the horizon line. Rising line is where your eye level is as your viewing an object. It's above it. You would see the actual bottom part. If it's below it, you would see the top part. We're not gonna go so much into this because it gets into perspective elements because we're also dealing with viewpoints and such things is that that's for another class. So let's just concentrate on dealing with form has noted. But worry about your lines being perfect. I want you to think about the concept of making form than having to pull out a ruler you can always do. Straight lines on a computer were thinking and drawing and plain. We have to consider the light source that's coming across here. Um, place a light source on the upper left hand side. I'm bringing in my pencil now and just using my to be all the way through. Then I'm going to darken it with a four B. If you'll notice that I have just three sides light, medium dark, I turn it sideways cause it's easier for me to draw straight lines in that direction. So moving the paper around and you can do that, there's no no set rules here. And lastly, we're gonna be putting in our shadow, and that's gonna be the darkest Let's try with our triangle. Now the triangle form we're gonna may making a pyramid. Well, the pyramid actually has four corners to it on the bottom, so I'm going to draw through this, and this term is called Constructivism, cause it shows a see through of the form, so you have a better understanding of constructive drawing. It's a skill that artists can build objects. I'm doing the same over here using my cube. Now the same concept applies light source medium tone here. And then we'll have our darkest value on the right hand side and then our shadow. Now we're going to do something different with the triangle. We're going to be making a cone so the cone is going to have an ellipse ellipses air used with brown objects. If you'll notice the pyramid is square versus a cone being round on the bottom, What is the lips? I found this definition to simplify it in the context of visual art, and the lips is often defined simply as a circle in perspective or for shortened circle is bearing the influence of optical distortion. We're going to get more into doing the ellipses. We've got really fun exercise in the next section. Now we're doing the cone were darkening it, But we have to remember we're dealing with a circle and the circle. We're going to be having that reflective light Silman to that at the sphere. Let's move on to the rectangular form. The Brick Taylor form will be very similar to that of the Cube. We're going to have a light source on top, just like we had with the Cube, a middle town and then our darker tone on the edge, along with their shadow. I put in a little bit of my constructive drawing in there. Here's your cylinder form. Here. We have definitely ellipses here. We have a lips also on the bottom and the top. We're gonna be shading it in just like we did the cone, like two dark. I'm usually my HB. That's my little tip there that will blend in that bees and ages quite well. We'll have our shadow effect, but definitely having a reflective light. Here's all the shapes that are necessary to really know to build a different type of objects. Now the lips were going to be doing mawr. These with exercises and the next section.
4. Ellipses & Directional Exercises: you know, in the section of lips is and directional exercises you start with the cup, the round As I pull it up, we're getting the illusion of it going away. And those air those ellipses that I was talking about Let's start out with me holding the cup in this fashion and starting out with the lips if you notice I'm embracing it. This is because we can draw one side Really well. On the other side is using off. So recognize that in your own drawing I have my lips. Now look at the shape of my object. I'm calling this pressure points because I'm going very lightly with continuous ellipses all the way down. When I say pressure point, I'm putting more pressure on my pencil by pushing down on it for the outer edges. This is what I'm most concerned with, and then at the bottom part will be my other lips. Notice it's still off on the right side. Don't worry about that. I know it will be off, and I just come back and fix it. That's the part of art. We just look at things and we we can do things with them. we can also viewer object of habit and access. The access is a dividing line here. I flipped it upside down. Sometimes it's easier to see the differences as well, as the access could be placed in any viewpoint. To show you what I beat in a different viewpoint at the pencil sharpener on its side, those ellipses will still remain the same. They don't change. They just change in the direction of how your object is being placed. Remember to eliminate any sharp edges. Notice I'm rounding the edges hair. We're starting with directional lines, so I'm adding these ellipses into lines that created. I'm playing with different forms and practicing with my ellipsis is going through these forms. This helps me give with my coordination and my drawing skills from proof. I'm adding a little bit of value in there. Now They're looking tubular, just having fun with that. So just practice and play with these Philip pages of and not be afraid. This is all practice in the more you practice with that, the better you get. So it's just enjoy our next exercise. To work with that will really improve these wonderfully lips is to get them that wonderful oval shaped to them. No points on the edges or the flatten out your imagery. I'm doing triangle shapes and column shapes, and now I'm just placing a continuous one. And then I'll just be adding, Having fun with this so you could do is menu these and in different ways and just enjoy. Do as many as you can, and when you see a good improvement, then you'll be ready for the next segment because now we're really gonna put these together . Next, we're going to be taking a step further with directional forms and start creating imaginative, constructive forms. It's gonna be a blast see in the next section.
5. Directional Soft Forms: this section is about soft sculptural forms. I'm gonna start using my directional lines. I'm using this marker so that you can see what I'm doing with the lines. I'm gonna put a arrow on its you know how I wanted to flow And I'm just kind of like 1/2 ellipse, but we're gonna finish it out, be easier, just kind of curved where I want this to go. So I'm going in This direction now is I'm flowing this direction. I'm going to bend it this way, coming across tear bending it that way and enclosed this for Say it. I've got form going around this way. Maybe I go wider and then with it, I'm gonna wider with it. I'm going to extend these out X to see my form. So I got the ribs in the form. I have what is really across contour. This is a good definition for cross contour. Cross counter lines are very much an attitude about an approach to drawing there. The lines that reflect the movement of your eye in and around what you see. While contour lines describe edges, cross contours described form and volume Ben unit This way add a little bit more to this, so I've got something that's moving. If I want to continue with this as we do it that constructed, you can come in here and you can see you're ellipses just like we did before. This was building it up. Using the format of a spine, your ribs and then your lips is to create this wonderful soft sculpture form, claimed up and straighten up my ellipses and finished it out throughout the piece. This will give you a good idea of how this soft sculptural form is being constructed and almost all my classes. I love to introduce you to a couple artists. You might know them or not and how they relate to what we're working on. I thought this was a interesting artist to view, and his name is Jeff Koons. You've probably seen his sculpture pieces. This is the Bloom dog, I think, most highly noted for its a rather large piece, and they're made out of stainless steel and transparent color coding. But I thought, it's interesting about we're working with. We are doing these additive pieces. Here's a larger version of it connecting these. I think this would be something fun that we can just try and work with the shapes and then understand these directional lines and go from there. I wanted to show you some other pieces. This is tulips, and that's your sculpture nearest to you on the left and a flower to the right. They're very large. They're very enhancing to look at, especially viewing them in person. Let's go back and look at his one piece, and then we'll investigate how we can work from that. Let's look at this and put access in there. That will be our backbones. And from there let's just go ahead. Put your lips is because you already understand the idea of ribs and coming through this particular sculpture piece. So this goes you understanding of looking at form and almost dissecting it and using it in a constructive way, a building or taking apart. How can you create these sculptural forms with pyramids? Cubes, cones, rectangles and cylinders will go to the next section and find out. See, there
6. Directional Shaped Forms: directional shape forms. Basically, we worked with cylinder forms. Let's just look at the sphere and so we can do it. This fear. This is great. A nice a round shape. I noticed a dark in the lines, my pressure points and coming in and having lines that go with it. That gives me a feeling of this form being rounded using the square, and our form is going to be a cute Let's go ahead and draw the cube and begin with the idea of the spine. So let's think of this going this way. I'm gonna put it behind my spear over here. So we have that access line, our spine, and it's gonna follow down below. Our lines are going to be moving around The directional line that we form added here, I'm going to draw my lines a little bit lighter here on my outer lives, Doctor. So now we have Cube that has moved to it. Now with the triangle, there's three ways to approach. It is using the triangle as itself. Let's go down here and explain and visually show you why I could take the top part of this . And that could be my direction line. I could move these lines going across. We went through here. So we have that we have tried moving this way. Begin also continue it moving on and turning over here. It's kind of how it moves, So that's one way of looking at it. You can look at another way, and that's our Colin shape. Obviously, these can only connect on the bottom. They really can't connect on the top. But you can have this imaginary directional lines also making it smaller. A zit recesses back. You also get that form so you can do create it that ways we have 12 and the 3rd 1 would be the pyramid form. How that's got your square on the bottom again. Similar to the cone. You could have your directional line in here and the bottom part to move. But you have to remember the top part will be separate. So let me just shade in one of the areas here that's closest to you to get an idea how they're lining up So on. Lee connected on the bottom as well as the cones in here. We can connect all the way through kind of making a snake. And here we have our rectangular shape, very similar to what we're working with. The cube sane format will be locked together. You get a great we'll just put this back here, Creator Spine dark in one side so we can feel it moving. We can add to the front of this be kind of fun just to add pieces to it. You could do the with or you could break it apart that we're getting more into just the rectangle itself kind of unfold out. This is just unbelievable tongues of ways to do this practice with this and let's take all of these together and let's are creating are imaginative forms.
7. Simple Additive Forms: in this section, you're going to be learning to draw simple additive forms. I speeded up the video to save you time, but I wanted you to see me draw all the way through these different shapes. Try not to draw exactly what I'm drawing, but make up your own shapes along the way. This way you'll really learn how to be more creative and imaginative. Let's start out with simple forms. Here was with this sphere using my ebony pencil. I'm gonna choose a cylinder. You conduce cylinders. Well, maybe do it a different place just to play with it. And I'm creating this rectangle. I'm adding to this rectangle. Here's a soft shape form like we worked with before. Here's a cone shape here. I'm constructing. You're going to see through the piece itself. Here's another soft form. I've got a cone on the edge of that one, and now I'm anti value just a little bit, just to give it a little volume here, I'm creating something very authentic. It's almost like a flat ribbon kind of gives me a real sense of depth going behind the cylinder shape in the sphere. Here is what I'm just playing around, taking these cubes shapes and making them softer looking. Remember, nothing has to be exact is just fun. Do as many if you can. This one almost looks like it's floating in the air. Now. We haven't None of the other ones is the directional lines in this particular section. Just had you add things, let's be more focused. So with these lines, I'm now putting the shapes around these lines, informing them, seeing what's in front of one. What's behind one. Adding a variety of different shapes en sizes really makes your imagery a lot more interesting. Now the last image that you saw, the imagery is floating in space. I'm adding weight to it. They almost look like feet or pedestals, but it's adding weight to the image. I'm sure you've been wondering why we've been doing all these eclipses and let's go in and start to change the object itself. I'm going to begin changing it, my flattening the top of this particular form here. Now I'm gonna go and make it more calm. Cave I'm gonna and a marker just to define the edges. And this will help you see what's laying in front or behind. This is called overlapping and heavier lines down there to add more gravity or weight to those supposed legs. This is where I'm just having too much fun. And I just keep Annie to need something in this space. This part here because it's like a little tale at the end, giving a little more extension dimension to it. Maybe one over on this side. It's fun play. I'll see you the next section, where we will be subtracting forms its amazing but imagination will come up with for learning.
8. Simple Subtractive Forms: in this section were working with simple subtracted forms that stood out with sphere. You really need to know what your positive form is to be able to make a subtracted from. I'm gonna go very lightly drawing my sphere. I tendency to go very dark. That's hard for me to erase anything. So gonna go a little more clear with my spear in here and I'm going to just start to band around it, just creating my outer shape of my ellipse. I'm gonna go inside and finish off some of these. I'll do this one here. And this one right in here races edges much easier to raise its not so dark like this one and making sure that it goes all the way to the edge. You you're actually having their positive space that you're taking away from and creating these negative shapes? Let me just dark it in just in these areas. I'm going to shade a little bit down here just to give you an idea of my positive forms. Throw another sphere very lightly. We can dissect it a little bit differently and like splitting it up. I'm gonna bandit through in this formula but it looks like a beach ball to begin with. You can also think of it like a pumpkin, so that's pretty easy to think. Oh yeah, I know. I can put in I in here and cut into it. That's pretty simple. We could also cut holes into it, so this gives us a sense of depth into the space of the sphere. Let's do pube, starting with our basic form, our cube. And let's go ahead and let's cut into this cube. I want to kind of write in years kind of that band in effect, just like we did with the sphere. It's bring this all the way down so we know that you're not gonna be seen. It's a race. These lines spread in here. So that's form. Let's clean it up, you know, drawing this to begin with, not everything has to be exact. So don't worry about it. That's such a waste of time to get crazy about it. You really just want to have this understanding of what you're drawing. So here you have starting with your cube and now about these almost looks like to floating rectangles on top of each other. how quickly and fun can we change things? It just makes it so exciting and so fun to work with. Let's try another cube. What else differently than we do with this? Let's try something a little bit different when you cut into it this way, but it angle to it. Another band like this so are actually changing our form from a cube. I'm gonna try this banding again and how quickly we can convert this. It also put a hole on top of here. Shave it a little bit. I could put a circle in this part, shave a little bit how different it could become, just understanding how the form works. I could always clean that up later on. This is practice time in play time. See how many different ways you can approach this? Let's finish the rectangle, cylinder and pure middle forms in part two of the next section C. There
9. Simple Subtractive Forms (part two)): simple subtracted forms. Part two of the rectangle will be very similar to that of the Cube. Just elongated, it has the same approach to it. What if we come in and we do something? You know, it's very thick in here and let's say we come in and make a whole since it's so thick on this side and we know that's the With that we could say that it's actually the thickness is much thinner. It's not going all the way through. So I'm thinking about my with. So if I had a circle being placed in there, then it's gonna be on Lee the with of how thick that rectangle is. They also see the side in there. So now you could really play with it. You can think of that Constructivism seeing through it, understanding the form and then taking away that's worth of the cylinder form. Let me draw very lightly my cylinder form and let's see what we can do in regards to what would What can we take away from this? We can cut on the top part, put a circle up here and cut into it like that. We can also come into the edges as well. You can actually cut in this way to change the shape of it. We could also cut more directly into it. Remember the ellipses here? Those will come across. We have our a vertical line finishing up with our ellipses will see the bottom part versus the top. So we're able to cut into the cylinder form as well. Let's look at our pyramid Gonna be very similar to that of the Cube and coming there into circles course is gonna have a bottom to it. We have to think about that. We can also cut into it in this format, making it square. But you're gonna have to follow the lines off the shape of the pyramid. I feel like you're going through the piece. Perfect time to introduce you to an artist. Henry Moore. He was born 18 98 to 1986. No, you feel like Well, that's just old. But I know you've seen one of his self showpieces at one time. He's an English sculptor. He's depicting these human forms through these biomorphic lee shape abstract stone and bronze sculptures, forms found in nature, organic or by morph IQ and by morphing forms can be rather abstract. But they do vote to feeling of living things such as plants and human forms. In this culture Beast by Henry Moore Call the reclining figure You could definitely feel and have that presence of a human figure like a share with you. Two quotes the artist in my opinion, everything, every shape, every bit of natural form animals, people, pebbles, shells, anything you like are all this that can help you make a sculpture that wonderful. So everything's around you. It's already there. And the 2nd 1 is to know one thing. You must know the opposite. And that's something that we've been working on together. Unless use our organic shape, I'm gonna play with it. A very large shaping cares for you. Look at this will kind of remind me of Henry Moore. With every more you go in and out with it. I could come over here circles. I come in here and you like it. He becomes it here and it starts to bend. So now we've got almost a relief form that's changing. I could make some really fun shapes all the way through it. Keeping in mind. I have this beautiful form created here. Maybe this part in here kind of goes back. So really have fun with the idea of your phone. Do a little shading here, make it really have weight to it. As I said before about having played, let's learn about interlocking forms in the next section.
10. Interlocking Forms: we're gonna be interlocking forms. I'd like to start out with thumbnail sketches. The use are some thumbnail sketches from Henry Moore. Their drawings Preparatory ideas for sculpture pieces. This is a really good definition. Thumbnail sketches, air drawing. Quick abbreviated drawings usually are done very rapidly. With no corrections, you can use any medium. Usually it's pen and pencils. The most common and thumbnail sketches are usually very small. Onley like one or two inches. These air quick ideas and so important to the whole aspect of doing art. We're gonna begin using this fear. The cube in the pyramid. We're gonna be doing what I call thumbnail sketches. These air small sketches like you saw with Henry more so very, very quick. And we're just gonna be playing around quickly, trying to interlock the shapes together. I'm just using my ebony pencil so you can see it. But you can use your old all your pencils and play with the various values on this. I'm just right now just working with line. Let's make sure these matchup no way could actually do an extension here. Just playing. Let's put us a sphere inside here. I'm going to place it right here. How am I going to interlock this into the shape? We have ours. Constructive image already. So I could just place it just right in here. So we already have a place for it to be. It's dark in it. See how it places in there. What if we had another one over here again? We have another locking point here. You could go out. It's so now we're playing with these shapes. That air now connecting. Do a pyramid. I place my pyramid right here. Here we go. Schaefer. It's moving into the piece. When other shapes could we work with, we could also do another. If you notice here, my angle is it right? It's falling and it doesn't feel like it's a part of it. What can I do to change that? Here we have my rib structure. I come in, can add into this rib structure and take this part off. Now it goes into that shape very simple to understand that prospective, the constructionism and understand the shape itself. And then we can act the pyramids gonna have lines radiating off this point on the tough. We've seen this before, so I'm adding a box on here. See, this is where I want my box. Poor, cute form that pretty wolwth minutes angle it a little bit more so that it fits right into way. Feel like this is This is now attached to this form. It could also penetrate and go right into it. Let's put our sphere over here. Take this part off, hook it up to this and then I have my sphere keep planed in many different ways that you can do these three forms and interlock. Are you ready to grate a large, interlocking, amazing Imagine deformed. Let's go in the next section get started.
11. Interlocking Forms (part two): interlocking forms part to a let's build a more complex, creative sculptural piece. I'm using the whole sheet of my paper here, and I'm going to start out with one particular form as my main source. I'm gonna do a rectangle. Now I'm going to add more to it and things a little more advanced. Such as? I'm gonna loop things over so there's gonna be overlapping involved. There's gonna be ellipses in lines all combined together. I'm going to start out with sphere over here. This line here. So I'm going to the race. This part No. Decide how you've learned how to get so dark. Until I'm sure of how I want my form to start with. I'm gonna leave this form the way it is. I'm gonna produce another one. I think over here it's and I'm gonna use my directional lines can I'm going to move back. I'm gonna go underneath here and go around this way. I am going to be crazy and really have something fun that's going to happen. Navigating with my ellipses. Go out a little bit there. We connect these up good at creating care. It's almost wrapping itself around a little bit shading in here to give it some character. And now look what happens. How fun is that? So all the time, you could be cleaning these up. You can do all your shading in there and look and look what you're creating. I think it It's amazing how easy this is is not as complicated as you first thought. I'm sure. Let's put something on top of here. And if you'll notice on putting things in front of each other, I'm creating depth. This is coming behind it. Right? So you have things there now, really. Having focus movement, This one seems odd. Overhears I want to add some more things to it. Here, behind this piece here. Spec. It's gonna be a spear. I'm going to take this corner off right in here. Shade. It initiated on this side. Look what's happened. Form, shape, movement. There's something like this. You could just keep going in our next section. We're going to be learning how to apply all the things we learned into drawing common objects. You'll be amazed what you can draw now.
12. Applying Constructivism to Form: Now let's apply. Although we learned about constructionism to form, I look at this shape and I see a cube of constructing my drawing all the way through it. Here we have a cylinder shake on top. We have a lamp. I know this is a sphere, but I'm looking down on it. And the ellipses are as I see at the edge of the lamp, nice and rounded. I want you to see the difference of a different angle. When I look at this sphere, this sphere is more my eye level that I'm looking directly at it. So my ellipses are going to be, ah, lot thinner. Here we have the arm of the lamp. I'm just going through with a directional line. What's great about it? We know it's a cylinder. You can already see the ellipses in there. Here we have a tripod that was my closest for something that was triangular and pure middle almost and directional lines throughout and connecting the base. Here's a modern clock. I mean, you could start looking at the shape I'm doing directional lines here, and at first you might think, Well, that's kind of an oval shape, really look at the overall shape to it. The overall shape is basically a rectangular for then we're gonna go in and start to soften the edges, starting with the back front and bring it in. So we're taking away subtracting from this. I thought this would be a good opportunity. It's how this applies also to the human figure. So let's just quickly observe. You could do a sphere for the head, a cylinder for the neck. You have the hand that could be broken down also into geometric units. Cylinders for the fingers, a square shape that almost looks like a cube form but very thin. Also, we're doing the arms saying things cylinder forms so you can apply this also to the human figure. I'm working with a tape dispenser, which is a multiple shaped object. It's a cylinder and rectangular form together. Really look at your edges and look at your directional lines, so just watch me go through this. Keep looking, doing lines for some of you. This might feel a little bit to advance, but just it's a good way to show you. And for those of you that want to be challenged, you can do this here. I draw you the full cylinder shape that I'm looking at, and then I erase it. So always knowing the positive and taking away. - And here's my finished product right here. If at any time you need help, please do not hesitate to contact me through my profile page. Happy to help you. And most of all, I would love to see your artwork. You can posted in the project gallery. Be great to see. I know you're doing a great job and we'll see you the next section for your class project.
13. Class Project: Here's your project for the class you can do one of these are all of them. It just really depends what you want to do. But I'd love to see these definitely posted in the Project gallery, and I'm going to show you examples right after this. Number one is a constructive, simple object. Number two is a finished multi formed object, and three is that add on to the multi formed object and recreated into an imaginary form or forms. Have fun with this love to see your work and like to see what you accomplish. This is pretty fun and exciting, so get going.
14. Final Thoughts: we'll hear my final thoughts. We've really accomplished so much in this class. We've just done tons of stuff, and I'm so happy you taking my class. And I have a few more of classes that be wonderful to take in this particular channel of art essentials. And don't forget to put your project in the project because I really, really love to see it. So keep drawing. Enjoy yourself. Remember, there's lots to learn about art and keep coming back. Check out my profile pages. I always have new classes coming up. Take care your some the classes from the Artist's Essentials channel. That would be great for you to take 1st 1 hears online. 2nd 1 is on shape, creating effective shape arrangements. And third is amazing Introduction to value Using pencil again Any time you need my help, don't hesitate to ask cause I'm here for you and I can't wait to see you back. Thanks so much
Jennifer Moorhead, Artist, Art Professor, and Entrepreneur
