Transcripts
1. Introduction: Hi, I'm Jennifer Morehead of a former college professor, and I taught drawing for many years. And that's one thing about drawing that's really important to know is that anyone can learn how to draw. It's really a skill. I'm here to teach you that skill, and one of the wonderful art elements is texture, and you get to learn so many things about pencil techniques and how to manipulate diff'rent strokes. You create texture, this classes for any level. We start out with basic skills and build up and really enhance your drawing skills. So at the end of this class, you will feel confident to be able to draw like a really good fine artists. And I cover three really important different types of textures, starting out with stone, which is a matte texture. And then we work up into doing hair, which is a linear texture, and I also teach you even how to work with your eraser. And I really teach you a lot of tips and techniques, way and then metallic, which is a Chinese texture. Our projects pretty excited because I make it very challenging and I want you to really be expressive with your own personal style. I call it transformation of taking one object transferring to another, and we should be able to be able to do this at the end of class. So I think it's gonna be really beneficial for you for any other classes that you taken art as well as a graphic designer, even interior designer. This is a great class to take, and I hope you enjoy it. I can't wait to see in class.
2. What is Texture?: to begin with. What is texture? Well, Texas. A combination of lines and tonal values. We create the tactile sensation and appearance we called texture. There's two types of texture. One is tacked ill. This is the actual texture is physically riel. Weaken, touch it and we have, ah, sensation from it. From what we feel, the visual textures, the other one. It's the illusion of texture. We can't feel it, but we visually experience it and has a sensation through our visual reception. They're five. Modifying factors and texture, contrast, scale, distance, light and association. Here's a swatch of a piece of cloth out of a pair jeans. I'm going to contrast it to one that is similar. Aziz. You see, the text is the same, but when I modify it where we have a lot of lights and darks in there, it really changes the one on the left to appear softer. You can enhance texture by what's next to it. Now let's smart upon the one in the right and make it less dynamic and less value changes in there. Now the one on the right appear softer. Next is scale in scale means the strokes that you make to create tonal value. Visual or implied texture, implied meaning, suggested texture. Have a quick version here, and it's also speeded up. I'm showing you the differences between these strokes. I'm doing a second rendition of the glass and making my strokes a lot wider and harsher, doing some cross hatching. And when you look at these side by side, you'll notice the one on the right has a visual texture. Much heavier than the one on the Left is an example of an artist. Vincent van Gogh. He's a painter from the Netherlands. He lived between 18 53 and 18 90. I'm depicting here three of his paintings and just showing the eyes and showing you the strokes and how different they are and how expressive they could be. A swell. If you look at the eye on the left, it's a softer look to it, and then it becomes more aggressively painted in the middle one and then the last one on the right, you can see the very expressive tone that's being created there by using the strokes. Now let's look at these pencil strokes. Looking at these, they could be, for they could be blades of grass, it's hard to determine what they are, so the other factor involved is called distance. Now, when these markings air placed next to other markings, you get an idea what it ISS here. It's placed into a landscape, so I'm able to define it as grass. And then, as it gets smaller in the background, it's called on atmospheric perspective. Here's another example of gravel as we think it is. Could it be a rock formacion that's further away? And if we place it next to each other now we have the distance. Here's another idea of the distance with the atmosphere. Perspective is, you can see the gravel on the left with the rock formations on the right. The next factor is light when the light hits the surface and object and creating texture with it. If it absorbs a lot of the light, it will have more of a matte finish to it. If you have a surface that's rather hard, that it reflects the light, you're going to see these large pattern formations of the reflective light as you can see this metal lamp shade as well as these glass containers, let's look closely at this image. It appears to be Matt. It appears to be kind of a softness to it, and we look at it all together. We see a hair, and this is done by Albert Juror, who is a printmaker and painter in Germany. He lived between 14 71 to 15 28 and this is called young Hair, done in 15 02 which is a watercolor painting we associate, Ah, hair with being very soft. So let's look at these next two images. One on the left is a horse's ear that appears very soft. And when we compared to the one on the right of the thistle, you don't really want to pick it up because you can already feel that it's gonna hurt your hand so we can associate imagery both what we're looking at, how it's gonna feel. Yes, I was looking around a photograph, different types of texture. I came across this piece of fruit. It's called the O Sage orange. It is just the bizarre is looking fruity, really can't eat it. But it's such an interesting imagery, I thought to be great for this project, so I wanted to break it apart and talk about pattern versus texture. Now we have the actual on our left. We have our visual on our right. Next is invented. It looks like the visual, but it's a little more modified and then to the right of that is pattern. Now let's determine difference between texture versus pattern textures. Actual collusion ist IC. It simulates a tactile response, visual or sense of touch. Pattern, on the other hand, is a decorative design. It involves repetition. It's not concerned with service texture, but with appearance. Well, we covered in the segment is Tak Tau versus visual texture. The five factors of texture, contrast scale, distance, light, an association, simulated invented pattern and texture versus pattern. In the next segment, we're going to be learning the four essential line and toned pencil techniques to use over creating visual texture. See them
3. Line & Tone Pencil Techniques: Welcome back. This segment is online and toned pencil techniques starting out, drawing a pair. Look at the light source working with my pencil, really concerned about the weight and pressure I put on the pencil on creating a contour line right now, just getting the shape of the form. I'm going to start applying my first pencil technique, and this is hatching the's air parallel lines together it depending how long or short you make them will depend on the textural quality that you want to achieve. I tend to go over and over and over and trying to smooth out the surface so that you're not seeing the visual marks of the hatching lines and notice they're all going in the same direction as well. I'm very concerned with my light source and keeping the lights and darks all place together and creating a nice sense of volume and form here. The other three techniques that we're working with oneness crossed at you. It's hatching and then crossing over with, and it depends how close they are together, and how many times did you will make your value. This is called stippling. You often see it with ink more than pencil, but you can create with pencil. Justus well offers another technique on your process of working with textural designs, and thirdly, I call this scum bling. It's moving lines, rapid moving lines that are not uniformed by any means in this quick study of a three dimensional cube. A tip is that we often use cross hatching along with hatching when we're creating textures , and the cross hatching is mainly used in the darker areas because it produces a wonderful dark value. Here's another piece by Elbert Dir. This is the Four Horsemen from the Apocalypse. This is a woodcut done 14 98 So all the white areas have been carved out, which is just amazing of his techniques. But this is just an example told variations that could be created through hatching lines and the very, very dark areas. Are those air done by cross hatching, you'll notice. Also within here is like the curves in the body of the horses. You can also see a cross contour hatching that these hatching parallel lines tend to curve as well. Here's one more example of showing you the combination of the hatching lines. This is a self portrait in a camp open mouth. It's an etching, which is another form of printmaking down at 16 30 by Rembrandt. What's fun about this? It does have a looser style. Even the subject matter itself. How how he's portraying himself. But you can see here the cross counter hatching the hatching lines along with a cross hatching lines. So this gives you another variation, that tone ality. I'm now going to do repair again. But this time I'm gonna combined all the different techniques into one. And I'm only using my ebony pencil on this. It's really, um, starting out with gestural idea of it because I don't want that heavy outlining. You really need to be more concerned with the interior part of the objects that you're working with and working out to the edges. I worked a little bit on this, and I have a still of this just to go and show you the different techniques. I'm working with a star on the left side. With the stippling you could see, I'm adding those dotted for the surface texture of that pair, and to the right of that is cross hatching that I'm getting the darker areas by going back and forth with the hatching lines and crossing it over above that the hatching. I'm even curving in a little bit to the curvature of the payer, as well as during mawr, hatching and parallel lines that are very straight down below and above that, with the scum bling is the little bruises of things I've seen in there and the imperfections. I'm playing with the scum bling and just doing very loose markings with my pencil. I've speeded up this exercise that I'm showing you, and I just want you to watch to see how I've explored using the different techniques. Here is really an important tip using your eraser. Just don't think it is something that you just completely erase what you've drawn, but use it as another tool to help you gain a little bit more of different variations of values. Sometimes when you go to dark, you could just lighten up slightly by using your racer, so it's a handy tool to keep with you at all times. Another important tip is to really observe. I look closely at the object. I go back and forth, really looking more the object that I do my paper and keep applying. Every technique I can't get is close to that texture that I'm viewing. Now let's look at both the joints and I made with the object the payer. First of all, if you remember they hatching just using those parallel lines, let's now compared to the one that I've used all the different techniques. Certainly there's a difference, because use you have the idea of the pair and he associated with it with hatching lines. But using all of it, you really get a more detailed version of what that texture is all about. What have you learned in this segment? Well, you've learned the four pencil techniques hatching, cross hatching, stippling and stumbling. Then you've also used a combination that hatchet cross hatching lines into a single technique. Cross contour using eraser just not is racing out the object itself. It is a subtracted method and using all the pencil techniques together. What's next? Fraud Ege and what's that? We'll find out in the next segment will be joined one of her first exercises. Yea,
4. Learn to 'see' Texture & Exercise 1: in this segment, we're gonna learn to see texture, and we're gonna be working on our first drawing exercise hand. We're gonna be working with fraud, ege. And this is a technique of creating a design by rubbing as with the pencil over an object place underneath the paper. Let me demonstrate to you what fraud edges. I'm taking these seashells because I really fine their texture to be very interesting, taking a pencil and a piece of paper, and I am applying the pencil rubbing right onto the surface of the sea show. It's not important that you get the whole object, but just the rubbing of the surface of it. So now let's move on to exercise one going to create rubbings from both natural forms and man made forms. Reason for this is this will help you learn how to find and see texture and also feel the technical quality. And through that, here a couple of tips to get you started. On the left hand side. It's a place man, and you can see the detail it on the right. This this would be a good textural thing to do rubbing, but you'll find when you're rubbing these different materials. They don't always come out the way you think, but that's kind of fun. This is what the process is about. Here's the 2nd 1 This is a shag rug. Well, you can definitely see the textural quality in the softness of it, but when you rub against it, it's gonna flatten out and also look very different. So enjoy the process of doing the rubbings. They don't all come out, but they'll be some that will really surprise you. The materials you'll need for this project are the following three sheets of paper one ebony pencil, one plastic eraser, one kneaded eraser, one pencil sharpener, glue and scissors. Take one sheet of paper and fill it with natural textures. Here I one with gravel. Over here is barn wood internal. As good as I thought. Some other ones just look kind of alike. Here's of a tree bark. They didn't look much different from the barn wood, and then I'm doing some rock. I can see the edging on. That makes it kind of interesting. Alief I decided to turn the leave over because I could rub it a little bit better here. I have some peppermint. I thought that was kind of interesting. A little bit of mulch, which is dried wood shavings. Now let's take another sheet of paper and rub on. Man made textures. Here I gravel in a drawing pan, that drawing pan itself gravel. That's kind of interesting there. I like that one. Here's a tire, a garage door and some brick. Second, you're gonna look at all these rubbings and then you're gonna select one that's most interesting to you. And what helps with this is your observing visual textures that display a sense of design. The rubbing I'm gonna choose is the one that I did it the mulch. I thought that was pretty interesting. Three. We're going to cut out the rubbing you chose and draw the same size area next to it. This process, you really learning to observe surface variations I'm going to do next is I'm going to cut it out and I'm gonna place it on another sheet of paper, which is my third sheet. When a market down where I'm going to place it. I really want to have the exact dimension to the right of this because I am going to be drawing a visual representation of it. Here. I've got my glue stick. Doesn't matter what glue that you're using. Just enough so you can place it down there and make sure you place it the way that you wanted to go. I found this way was the most interesting. So I'm gluing it down, and then I'm going to use my ruler. Just a line up with the edging of that doesn't be perfect. This is just a exercise. And then just go back. Enlighten those edges with your racer. This is the best project I've ever had to teach college students about texture. You really learn how to draw a visual texture? No, no. You learning a little bit about the tactile quality, but your understanding. Wait a minute. My pencil already did this. I could recreate this again. So it's a great exercise, and I know you're gonna have fun with this. I speeded up this version for you. Well, where do you start? You start where you're seeing the darkest points so you can get overall feel for it. But you're not going to draw riel dark, but just a medium tone. What's great about this you're not drawing an actual object or thing. You're just really concerned with lights and darks. That's what makes it such a great exercise. Oops, I mean a little Maher there, but no problem. This is just an exercise coming back with the eraser to get a little more light or values. And I'm even applying my fingers and smearing on there because that's the actual look that obscene. - So here's my finish example. It's pretty close is not exact, but I feel pretty good about it that it's really correlating to what this project is all about. I'd love to see your work, so definitely if you can, is put it up in the project. Calorie. I bet you're pretty proud of it. See in the next section.
5. Drawing Stones: Exercise 2 (part one): we're gonna work on exercise to in this segment. Drawing stones part one. The art materials you'll need are two sheets of paper stones. Pencils for H two h h b two B four B in ebony. I needed a plastic eraser, pencil sharpener and scissors. We're going to start out taking one sheet of paper and cutting out approximately a four by four inch square. We're going to be using this as our viewfinder. Now you need to get your subject matter, which are your stones? I had some in my house that I'm using here. But if you get some outside, make sure you place into containers so that it remains stationary for you to draw from. Once you have your stones placed, then get your viewfinder and place a viewfinder right on top of the stones. This is what you're going to be drawn. You can move the viewfinder around until you find a really good composition of the stones and how they're laid out, and then you can stop there. And so you're able to get a good composition. You're able to eliminate all the outside stones that you're not gonna be drawing. So you're not getting confused with it and having to refined your location. And three, this gives you actual size to work with. This is one of the most important tips that I can give you. The key to learning how to draw is drawing from observation. I know you'll want to take a picture of it and draw from that. What happens? It eliminates all the depth that there it becomes two dimensional, and it's hard to go back and see the real detail ing in It never could take your viewfinder and place it on top of the other sheet of paper and draw inside that cut out so we can have the same dimension as your view finder. I'm gonna start with one of my softest pencils is a four B. I'm using this would lis pencil. It's kind of fun to use, but I want a soft one so I could just quickly create a gesture just to get an overview and layout of my design, not pressing real hard that pencil so I could easily remove things. We've been going over lines. Just place it out there. After completing all of this, I can begin to start adding some darks just like we did with the rubbings. I'm taking dark areas, so I concert toe, get a feel for where things are being placed. This exercise is so great because your lines are very loose. You don't have to worry about everything being exact and perfect, but you're learning how it be confident in what you're building up. Your erasers are gonna play an active role of giving you some value changes in there as well as taking some of those lines out. So it's less confusing. It's a process of layering and building up marks and values going to start using my two h. This will soften up. I'm gonna get some hatching lines in there. Be very careful about too much pressure because it will indented your paper. Quick tip. I have a little piece of paper and eat my hands so I don't smear anything. As I'm drawing now, I'm using HB, which I consider a blending tool between the ages and the bees. The bees are your soft ones to make darker lines. Your ages are harder pencils, but they make softer lines and a nice, lighter value. Really. Look at your stones up close and try to put a smudge detail as you can use all the different type of techniques that I had talked to you about and showed you and use all your pencils as you need be and just keep working this process, looking at the lights versus the dark's and evolving this textural imagery that you're creating This is really important. No, there's a lot of lines in there, but really note what I'm dealing. This one stone. I have the line on the edge there, but I'm gonna come back and do some hatching lines right next to that line in the same value. So that becomes a value change versus a line and what it does. It makes that stone come forward and the other stone go backwards. And now you're creating Ah, value change and you're creating texture. Well, there's lots more to learn in the next section. We're going. Continue with this and finish up and it's part two. I'm so proud of you for staying in there. I'm sure you're just doing great. Can't wait to see your exercises
6. Drawing Stones (part two): join stones, Part two. Right now, I'm starting to work from top to bottom and filling in a lot more areas still concerned with detail ing each rock to make them unique. Don't worry about making them perfect. Try to get as close to it as you can. Just enjoy the process and get excited about having them look like stones. Yes, I don't have my little piece of paper underneath my hand so you can see some smudges along the way. Here's a tip here. As you can see, I'm going over this area with a B pencil, but you can see these white lines coming through. That's from one of my ages of I pressed too hard, so it has an indentation in the paper. Best way to cover this up is really press harder than be on that will eliminate that. I have a plan. I'm really highlighting some of the stones are not having to do every one of them and kind of pushing some in the back as you can see the shading areas and really getting some detail ing, especially to the some of the rocks that I think are the most interesting. Bebe racer really works wonderfully. It creates a little bit of shading to get a polish. Looked to the stone plastic eraser really does well. They could really erase it and the very light white effect to it. Another way to use your plastic eraser. If it gets a lot of graphite on it, you can also apply to the paper, and it will create a nice town. Variation on . And then comes the time When, When do you quit? That's always the hardest decision for an artist to make. I think sometimes, but you'll feel it. You'll see. Okay, I think I got to the point that feels right and just put your pencil down. Here's my final piece. Some of the stones air not in the right positions or they're not the right shapes. The close enough. I had fun doing this. I feel that I've accomplished what I set out to do. You should feel really good that we've accomplished the matte texture, so let's get going on drawing hair and exercise. Three. I'll see you there
7. Drawing Hair (part one): in this segment, we're gonna be learning to draw hair. I'm starting out of the artist's Angelo BOTTICELLI. This is a renaissance time, and this is his painting. The birth of Venus, done in 14 85 86 which makes us such interesting and important painting is that he's using a depicting wind creating movement in the hair. So you could also see the angel blowing towards Venus and seeing all those lovely girls and waves to come across another artist, Andy Warhol's. That's depicting the birth of Venus. And he's doing this in silk screen and playing with these flat colored areas, which enhances those wonderful waves and movements and does it in a multitude of colors. This is John Singer Sargent, an American portrait artist. He's most known for being a painter, but here I have some of his drawings, and they're done in charcoal. You'll definitely see the differences of light and dark very strongly executed Here. Here's another Porcher. You could definitely see the hatching lines in the background and the scarf, but in his hair he really emphatically shows the darks and lights in the highlights of the hair that glisten in this particular portrait. This portrait is a beginning study. This is important to show you because of the different angles of the hair and the movement throughout. So the hatching lines now become across contour. So you're going with the flow of the hair. Here's the finished rendition. Let's learn some of them strokes. They're just straight up. Place your pencil down and move it up. I'm working with my different pencils. Now I'm making two parallel lines and wade through it. This will give you understanding of bending the hair and how it waves across. This will help you with curly hair and wavy hair. And this will also help you just make those long lines that will be working with each pencil I'd pick up is gonna have a softer lead in it, which will make a darker lines. I'm blending it to be lighter all the way to darker. I'm using this photo for this particular exercise that was done by Lexie Janney. First thing I'm gonna draws the shape of the head before I begin with the hair. Next, I'm just going to put in areas of the flow of the hair. Kind of gave me a little bit of an outline there and I'm going to start with my strokes. Notice that their long they don't have to go all the way to the top of the bottom. But they're fairly long and you notice I go up and down with them so they will start to blend in together. I leave the white air the paper for the highlights, but I go in pretty dark right away. So I get that feeling of form. Notice my strokes long. Now I'm going talked about him. Taking my age is and really bring it through and going over my darker lines as well. Notice every mark I make is a stroke. I'm lifting my pencil up every time I make that stroke. It will make a nice clean line, and that's what you want to have. - I notice I'm getting attention even to a little bit of detail of how the movement the hair is so it's not all down there flat, but I'm going over the contour of the head itself, always changing my pencils when I wont to the lighter areas. I'll go lighter with it here. I'm really any my docks on top of the head. Now what's really projecting itself backwards lines after lines and building it up? I'm not really concerned with the bow or the ponytail. I'll just suggest that No, I bring on my plastic eraser cause I'm gonna go in and get the white whites back there and I'm going in the same direction that I've done my strokes. The sun's finally started Come out today. Yea, I love working. When the sun lights out, I'll come back with my ages and blend in right into those white areas. I consider my HB pencil, my blending tool. I can blend from the darker darks up to the lights and blended through so I can have a nicer, great Asian wanna leave little pieces of loose hairs that so really give a realistic feel to it. Here's my finished exercise. I'm pretty pleased with it. Certainly it's not exactly like the model that I'm drawing from, but I feel really good about the quality that I've engaged in making this really feel like hair. So I'd love to see your outwork and place in the Project gallery so I can view it and let's move on to part two drawing hair. We're gonna be learning how to draw a wavy hair, curly hair and short hair
8. Drawing Hair (part two): with section We're gonna be working a wavy, curly and short hair and work on exercise. Three. Since your markings of line are so important, make sure all your pencils are sharpened. I don't like working for photographs, but in this case I need to with a different hair styles. This is a photograph by Arnell has a Novi. I started out real quickly, do in a gesture of the head and overall feeling off the position of the hair. I'm modifying this because I'm not using her hands in her hair, and I'm starting out with a nice curls in here just to get an overall feel. Getting some lines. Strokes note that I blocked in areas to the curvature of the hair and tried to complete the back of the head. I'm using a sharpened to be pencil in, placing my long marks to have that effective long hair. No, I'm erasing so I can pick up some highlights. I remember a quick practice with using those lines. Now we're going incorporate it. I'm really darkening the background, pressing down on my to be just to create more volume and depth, and I'm going to try to work on the foreground here of the curls. And if you see the ways I'm curling and going with the contour and getting my darks and lights within their now I'm using my two h pencil and creating really nice lines in there. So you really seen a difference off the value and strokes with my four b really getting dark behind there, just taking those strokes and even pulling it upward. So I think it really gives a nice effect to that in the bend of the waves. I'm just gonna point out a few techniques. I'm always going back with my bees and my age is so I'm getting darks versus lights. I like that to be rather loose. So I come out with these loose strokes on the edge. I'm really only concerned with this part of the hair. I'm not gonna do all of it, but just so that it gives you an idea of what I'm working with, always going back with the lines so you can feel that wonderful flow. Just keep working in it, and it just it just it's there. It has stepped that has volume to it, and you've created this wonderful wavy hair. Let's start with the curly hair. I'm gonna working from this photograph by Joey Bosa las I want to demonstrate with dark hair for you. It's very hard to see from this photograph, so I'm going to show you a drawing by Leonardo Da Vinci of a young child with curls. And if you can see the girls and really understand the movement that's created there with Darcy and lights, you'll be able to do curly hair a swell gonna stand out like we did before doing the gesture of the head and also the base. This is not a portrait class. I went ahead and did the face and Justin idea of they hair and I placed in the darks, and that's my tip for my beginning of it. I practice a little bit in the middle of you see there with the girls and playing around with that. So practice with the girls that you're gonna be working with, and then I blocked in with my eraser, the areas where I'm going to place my girls. Then I'll have a little more control. The highlights of that I'm going to begin withdrawing my girls right in those areas that I have erased, placing them in there with ages. And then I'll be working in my girls placing in my darks. Now I'm putting in my darker areas with my ebony pencil id like what's happening to this drawing and it feels finished to me. And next is short hair. We started the gesture and then start with R H pencil and doing shorter strokes because of the shorter hair. What's going to be different with this? It's if you look at the photograph of the left. That's when I had done. I'm looking at the very dark areas and blocking those in and leaving the white of the paper for the highlighted hair very thin. So it's harder to come across with my eraser and blocking that, and I could do that a little bit later on. But the beginning part of this I'm leaving those areas light notice. I'm drawing in different angles of the hair, so it's not just one one parallel line, but it's giving that short effect Really giving. The fact of the hair is layers upon layers. This is where I'm coming back in with my eraser. That's another tips those later on, really kind of blending them in and coming back with my ages to finish it off. I hope you learned a lot and try drawing. You know, one of the hairs or all three. If you want to and post your artwork in the project gallery. It's a great time to share your artwork. Others, and you'll definitely get great feedback from me personally. And let's move on UN drawing metallics.
9. Drawing Metallics: join metallics, exercise for look around and find metallic pieces around your house. There's a spoon I've gotta can. This is kind of a matte finish. That's not gonna work A swell. And tools are great. Any kind of metal things that she could find. I'm gonna start with a spoon and you'll note these air reflections that you see. You can also see me in the reflection of the spoon. I start with ebony pencil cause I start really dark on what is notably different. Everything else have been doing You could have really sharp edges as well, Aziz. A contrast of light and dark to make things appear metallic. You find if you move around just a little bit will change radically. So you kind of try toe, stay in one position. But I'm going back here with my need of Racer. Just get those highlights right back up to make your drawing interesting. Try to put in a Zeman e details as you possibly can. I put in some shadows. I'd like to give it a little weight to it. I just love drawing from observation because I can really see what I'm trying to draw. I thought I do one more metallic piece for you and just how important light is and how you set up your object to draw. Make sure you can clearly see your objects and the edges, so it's very important what is in your background and have a clearer light source. We work with our gesture to give a placement What's nice about it so lightly drawn as we're progressing with the drawing, we can finalize and do the edges towards the end. I'd love for you to do the project in the next section. I really made the project fun and challenging. You could use the great new drawing skills that we've covered in this class. So stay with me. Do your project. I'd love to see it.
10. Class Project: project for this class is called transformation. You're gonna drawn object with texture, and then we draw the object, altering the shape slightly and creating a new texture. The goal of the project is to utilize the pencil techniques that you've learned in class to create illusionist stick textures. Really challenge yourself and definitely post your project of the project gallery. I'd love to see it, and it's fun to share this with other people were not behind the breakfast in for is afeard cover cup. This is extremely tactic. Were working with is the visual texture. And if remember back about association, we think of a teacup we associated with something like porcelain and hard, and when it's different, we really have to take that second look. Now we can compare it to the visual spoon and that being metallic, But we're going to go a little step further with this project. Let me show you an example of the project. Remember the pair of work done when I turn it around? I thought, What does this look? Oh, a light bulb. So now I'm going to convert this payer into a like I'm going to begin with the racing some of the areas. So I have more highlights on there and really concerned myself. The different marks I'm gonna be using, how I'm gonna use my eraser as well as the darks and lights that I'm placing in here. If you've done all the exercises thus far, you will feel very confident doing this. Have a very great idea what pencils to pick up and how to manipulate thes strokes and techniques into creating wonderful texture. Enjoy watching this. I look forward to senior project in the project gallery and next insist a few words of my final thoughts.
11. Final Thoughts: thank you for taking my class. I hope you enjoyed it. I have a few others said, if you like this that she might enjoy as well here to my classes, I highly recommend. One is our essentials form enhancer joined skills to create fantastic forms. This would be a great class to take to correlate what he just learned as well. Learning some more pencil techniques in the creative process adopted Vinci's drawing techniques using a variety of media to get your update and classes that will be coming up a swell as classes that I teach really check out my profile page, so keep drawing and enjoy I hope to see again.
Jennifer Moorhead, Artist, Art Professor, and Entrepreneur
