Transcripts
1. Introduction: Hello, I'm Jennifer Morehead. I'm so happy you're here to take my value class
at Skillshare. A little bit about
me, first of all, I'm a professional painter. Secondly, I've been a
university professor for over 34 years teaching fine art classes
and also an entrepreneur. I'm an abstract
colorless painter. And this year, I've been doing these custom pet
portraits and charcoals. I'm only doing black and white, and I really had to see Ooh. There's a lot to
learn about value, and it truly improved
my art skills. This class is for anyone. So you can be a
beginner to an advance. You can work at your own pace. We're going to work in value. Black and white,
just using pencil. So you'll be learning
pencil techniques. I also incorporate master
artist work for you to look at to give you an idea of techniques and how
beautifully they're executed. I also learned about value that not only creates a
three dimensional form, it can create contrast. You can create a
focal point with it, a point of interest. You can create a mood, like an atmosphere with it. It's just amazing. We learn the value scale. I teach you about applying these value changes
to a real object. And then we work
on a final project that it's a demonstration,
it's real time. When you finish
your final project is I can't wait to see it. I love to look at student work, so please post it in
the Project Gallery. Can't wait to see
you in my class.
2. Art materials: Art materials. The art materials
you're going to need for this class are as
follows. A drawing pad. I like the Strathmore drawing and definitely get
an 80 pound weight, there's enough
weight to it to be able to do these projects
and exercises in this class. This pad is 11 by 14 ". You can go as small
as nine by 12 for this particular class and
you'll need a pencil sharpener. You'll need a kneaded
eraser, a plastic eraser, I like the staler, a
ruler, and four pencils. I like the fiber castle, as well as the Stler pencils and get any pencils you like, but most important is the
number on the pencils. You will need a four B, a two B, an HB, and a two H, and
that's all you'll need. I can't wait to see in class.
3. What is Value?: What is value? Hi.
In this segment, you're going to be learning
about what is value. So you'll know the definition, a little bit more about it. I'll show you
examples of my work and explain about contrast and making more value to
make definition of form, and also a little bit
about focal point. So it's pretty important
of this beginning stage, and I also go into the
intensities of value, learning about the high, medium and low intensity. Begin with the
definition of values. Values, the lightness or
darkness of tones or colors. White is the lightest value
and black is the darkest. The value halfway between these extremes is
called the middle gray. Value is one of
the art elements, along with line, shape, form, space, texture and color. Create something that appears to be three dimensional,
very important. Value is to be used for things that you
can create illusion. It's really an intrical part
of making things in art. And then we have the
principles of design, such as balance,
rhythm, pattern, emphasis, proportion,
contrast and variety, unity and harmony, movement. These are all the
methods that are used to organize
the art elements. Both of these together
equal art composition, and that's your main
goal of really making an interesting composition
that works within your art. Now, how do we start
to look at value? Well, we have a basis. This is Denman Ross'
nine step value scale. This was created back in 1907, and it's pretty much a guideline for most universities
that use this. And it's a scale of one to
nine, as you see up there, white to black,
and then you have your different value changes
all the way through. So this is what we're going
to be working with and to understand the
differences of value. And to look at it,
it's all about seeing. In this class, we're not
going to be using color, but we're going to be using black and white
and using pencil. I'm going to start out
with my examples of my my work is done in charcoal. And these particular pieces,
I'm going to show you, although we're not going
to be working in charcoal, I just wanted you to be able to see the value to begin with. And then I'll show you
examples in pencil. We begin with dog portraits, and it gives you an idea of, Okay, I can see contrast. It looks three dimensional, and this is all being
created by using value. In a closer view, you can really see the contrast,
especially in the eyes. And you get that feeling
of three dimensionality. You can begin to see
light and darken there. Also with this, we
get a focal point. If you go back and look at this, is that the eyes are the
first things that you look at because of the difference
and the contrast. I'll be giving you so many
ideas to be thinking about, but it's all gonna come
together at the end. In this portrait, you
still see dimension, but you'll notice the values in here are not as
strong as the other one, because this is what I wanted to give a different feel to it. It has a softer feel and
a feeling of mystery. So your different
values that you choose can also create
a certain mood. So that's what can do. In this one, I'm going
to show you, like, my beginning stages
of drawing this and using what is
called gestural lines, very quick, loose lines. As you can see, I've used very few tones on
the left hand side. I left the white of the paper. I've created kind
of a middle tone, and then I start in the middle section
with a very dark tone. So I have three values
already incorporated. I tend to work and finish certain areas like the eyes first and then work around it. Everyone has their
different approaches to it, but I thought this would be
interesting to show you. This is a close up
look at the eye. You can definitely see
the contrast in there, especially in the pupil of the eye and that
white around it. Boy, can you see that contrast
and that feeling of depth? This is what we're
trying to achieve. I'm bringing in terms, but we'll go over this again. Feel like you have to
memorize everything at once. We'll go through it enough that you'll have a true
understanding of it. I consider this a
lot of low key. There's not a lot of
contrast in there. You can see a light source that's also important to value. And a lot of deep
tones are in there. Here you get the final image
of the portrait of the dog. Darks, lights, it appears,
very three dimensional. This is the last one that
I'm going to show you, and this is dealing
with contrast. This particular portrait
was a little bit more difficult because the
dog is black and white, and I'm using charcoal. I had to really figure out how to manipulate those values. But I love the idea
of this contrast, and I wanted to evoke a feeling of this particular breed of dog, which is an Australian shepherd, is that they're very
intelligent and astute, and I wanted to give that feel. So this contrast that I've created here really
evokes that feeling. If you look close up to the eyes and the different values that I incorporated here is that the lights and darks
are truly the head. I go lower with the fur
because it's very white, it's a little bit softer. So this would be more of
the higher key tones, where the lower key tones and the contrasting
are in the face. Let's take a next step. Looking at the values
on the value scale, it can be broken
down into high key, mid tones, and low key. I'm going to show you
examples to give you idea of how these tones
can be applied to objects. Begin with any drawing
of dealing with value is you're going
to need a light source. I've chosen my light
source to be on the right hand side because
I have a window right there, and I kind of move
my objects to that. So now I have some
strong contrasts that I can visually
see to draw from. I started up my drawing
using contour lines. These are one continuous
lines to define an object. The upper left hand side, I've done a short scale of these high key values that I'm going to incorporate
into my drawing. I'm using hatching and
cross hatching lines as my pencil techniques to putting in my values in this
particular drawing. Keeping in high key the lighter
values, the value scale. Here's a drawing
by Raphael using hatching lines and a few
contour lines in there, and you can see this high key. It's very sensitive
and a soft feeling. By applying more of
my pencil techniques, I'm creating midtones,
and this gives a whole different e. It's
something to really think about. Here's a drawing by
Vincent Van Gogh using these middle values. You can get that feeling of a somber mood to
it and looks like a cloudy day and adding more
tones to make it a low key. This really enhances
the piece to feel very somber and a
little more dramatic, which you've seen
with the middle tone. Here you see a drawing
by Gustav Corbet. How dramatic is this? Even the lighting is
very soft on his face, a little bit on his clothing. Nice, loose, beautiful lines. What a beautiful
piece. I'm using one that's high contrast. I've given you a
value scale up above, and it's really eliminating a lot of the middle
tones in there. So you're seeing more dark
tones versus the light tones. This has a very intense feeling, and having this contrast really can induce more
intensity to a piece. Here's a drawing
by Mary Cassatt. Using this high contrast. I have two little girls
looking at a map, but how intense just having that focal point right in there and just leaving the white of the paper and the
contrasting effects just beautifully done and really creating a wonderful
composition. Next segment we'll
be learning about drawing techniques. I
hope to see you there.
4. Drawing Techniques : In this segment, we're learning about the basic
drawing techniques. Hello. This is pretty
interesting on this segment. It's on drawing techniques. This is definitely we begin with the master's drawing to really see where these
techniques come from. Show you example
of my work and how you can apply the different
values of the value scale. So understanding the importance of the value scale. It's good. Start with where these
drawing techniques came from, and it's really from
the High Renaissance, between the 1400s and 1600s. And we're going to
begin to look at the artist Leonardo Da Vinci, which we really go back and
look at what he had created. I'm taking these images out of the romance of
Leonardo Da Vinci. If you look at his drawings, which are so beautifully done, you'll see the hatching, the Karskio, the wonderful contour lines
of all of which we do now. I think it's imperative to look at where the beginning
stages are of drawing. So you can look at the masters and reflect on that
and learn from them. And in this time frame
of the Renaissance, these are mainly sketches. They're unfinished drawings. They're preparatory
sketches for paintings. You'll see a lot of
drawings on one page, and you don't really
see a complete finished drawing very
rarely during this time. It's a little bit
later that we begin to have finished drawings
as a piece of artwork. Let's further investigate. I chose one of the drawings
that you just seen, and let's look at it
a little bit closer. If you'll notice in the veil, you can see these
beautiful contour lines. I'd like to introduce you
to a word called Karo Scio, which is the treatment of light and shade and drawing
and painting. And I think this is
an important term because of your
learning about value. So you get an idea where
the origin comes from. Here's another drawing of a
woman's face by Leonardo. Again, you can see the beautiful contour lines that he uses. Here's another
drawing technique, which is the hatching lines. These parallel lines that
fit together create a value. The closer they are together, a darker value, and
the further away, it becomes a lighter value. Let's look at another technique. This is cross contour. This makes a little bit of
difference because they're not the parallel lines
that you had seen before, but these lines enhance the value of the form by curving along with
the form itself. Here's a head of a young
man by Michael Angelo. He's also an artist during
the Renaissance time. You can see the
beautiful usage of hatching lines that
he has created. Another Renaissance
artist is Raphael. Look how beautiful his linework is and the drapery fold there, just how wispy those lines
are and very delicate. I'd like to point
out, especially in the face and the hand, is his use of contour line. If you'll notice in the face, the line is very heavy, which enhances that value. Just using one line alone, First is the line that's
on top of his hand, how light and delicate that is. I thought it'd be fun to show
you a series of drawings of hands by these artists to
see their different styles. Let's begin with
Leonardo Da Binci. Next, we have Michel Angelo. And thirdly, is Rafael. Now I'd like to introduce you to another Renaissance artist, and he's a little
bit later than them. He's about in the 1500s. This is Albrech Dur. If you'll notice his style
is a little more finished. It's more realistic, and he's
introduced cross hatching, as you can see in the
cuff down below the hand. So this is now changing and refining the style. Of drawing. If you're wanting your work
to look more realistic, you're going to have to
refine your lines and be very careful and concise and
really take time with this, which entails a lot of practice to really
get this refinement. Another form of creating realism is using as many values
on your value scale. And having that transition
be very smooth. So let's go and look at why the value scale is important
and how to utilize it. In our next segment,
we're going to be doing our value scale,
which is exciting. Here's one of my drawings
as a demonstration to you for this value and relating
it to the value scale. The value scale is marked, and I'm going to mark
it on the paper to see and look at the different
values. Number one is white. Since I'm just using pencil, white is really the white of my paper that you'll see
in the left hand corner. Number two, very
lightly hatched in. Number three, a
little more hatching, a little bit of cross hatching. Number four, even more so. As the depth of this is created, there's more hatching
on top of them. Because what will happen
eventually is the white of the paper will not be as seen through because
there's so many layers. Number five, you can see the hatching and cross
hatching there as well. Number six, more added lines to make it
darker. Number seven. Now we've got a little bit
of cross contour in there because you can see it bending with the curl of the ribbon. Number eight, even darker still. And number nine,
the darkest there, and with all of them together. In this particular drawing, I'm using as many values
on that value scale. Next segment, we'll
be drawing our value.
5. Value scale : We will be creating
a value scale. Ah, now we come to
the value scale. You'll think, Oh, I've done the value scale so many
times. It's boring. I don't want to do it.
But it is very important. Even the process that I'm learning through
this value scale, I've done it several
times for this class. Every time I do it,
it looks different. One might be darker
than the other, but I'm always
comparing value to each other and making
improvements on it. It's always important
to do this. It's not a very long process. I do it in real time, so it
only takes around 20 minutes. You can go further with it and really refine it if you want to, but I want you just to get the
understanding of the value and trying to see the differences of the
values and the value scale. All right. Let's begin the
exercise of value scale. Then I also want
to share with you what pencils we're going
to be working with. I've already done one, so it gives you an idea of
what we're going to be going and doing in
this exercise OH, our HB, our B, and our six B. You can even tell when
I've written them down, you can see the
darkness of the six B versus the two H.
It really gives you an idea the necessarity of using different type of pencils to create a
variety of values. Now, to give you an
idea about where a number two pencil is
is considered an HB, it's actually
marked on this one. It would be right
in this category. It's really hard to get very, very dark with it, as well
as very light with it. Therefore, just using one pencil will limit the values
that you can achieve. In this exercise, I'm also
going to do it in real time, so you can actually
be doing it with me. This will help you get an idea of looking at different type of hatching lines as well as cross hatching lines and
practicing with these. Also, it really only takes
about 15 minutes altogether. It's not a long process but a very important
learning process. We're going to begin making
these one by 1 " squares. We're going to be
doing a total of nine, starting with the
first one is just leaving the paper itself as the value and then moving downward to the
lower intensities. You'll notice in between, I don't have a real
heavy line outside it. You want to be able to
see the gradation of the value as you go
through your value scale. It's a very important
technique to be able to do. Let's
get started with this. I'm going to have my reference of looking at my
last value scale. My middle tone is right
a good value in there. The first one will just be
the white of your paper, two, three, four, five. This will be my middle so
we're five in on either side. I'm going to begin
to show you about the hatching lines that we'll
start out working with. They're going to be short
lines and parallel. They're going to place your
pencil down and lift it up. Try not to get too hard on it. If you'll notice there, it
has almost a dot to it. So really get consistent
with those lines. The closer they are together, the value will start to change. Try not to do lines like this. They don't show a
true mark in it. This you want a nice,
consistent mark. Let's just practice a little
bit in the first one. Nice, light. There's not going to be a lot of
pressure right now. There's three things to think about when you're
working with value. And your pencils, you have pressure that you're
placing down the pencil, the marks you make and
getting those straight lines. It has a nice consistency to it. I'm just going to go very lightly using my
hatching lines in here. And then all the
way to the edge. I'm trying to not get a line in there. Then I'm
going to come back. How to do cross hatching. I have a little example
here and it's going to be the same process that
you've been doing with your hatching lines. We have these nice lines
that are parallel. It's the same idea, but you're just crossing
over it like this. See how nice that looks. The more that you do it, you can turn your paper around
if you need to. But the more you do it, the
darker that line will appear. You start to really eliminate
your white space in there. Isn't that nice? It's just going from
very dark to light, and that's when we
start mixing with our different pencils
and bringing that out. Notice I'm using my H now. That's when I'm gonna need my HB to blend in a
little bit more in there. Adding pressure and
lightening it up. This is the whole idea of
going from dark to light. But very, very light, though. So you're going to be leaving a lot of the white of
the paper as well. Now, to really understand
and to be able to work and have
something to balance with is let's do the middle one. With the middle one,
we're going to be using our HB pencil. Same quality that you're doing and trying to
match that middle tone. You'll find when you
put the pencil down, look at that value
change right away. You've almost have it. You don't want to go
too dark with it. See how dark can get so fast. We use our knee eraser to lift that up a little bit because
we've gone too dark. Make sure your pencils
are nice and sharp, so you have a nice clean line. I can leave that up there. When we're due notice I'm going over them in
different directions. You don't want to
make a line that is it's almost like
a tick tac toe, and then they become
very pattern like. You're wanting to
blend them in there. So keep that consistent
with your line making. Go as light as you can with
this pencil because it really can go dark
fast, surprisingly. In the next segment, we'll continue to draw
our value scale. That'll be our second session, and then after that we'll be the
6. Value Scale (part two): This is value scale part two. We're gonna continue
with our value scale. We're gonna be doing
more of the high keys in this particular
segment and still showing you pencil techniques and helpful hints along the way. Okay. I think we're
pretty good there. I'm going to use a little bit of my twoH in here
just to fill it in. So it's not filled in so dark, but just a nice shade in I feel pretty good about that. Now, let's go lighter. I'm going to still
work with my H, and I'm going to put a little
more pressure on this one. Still remaining
consistent with my marks. This is just an exercise. You're just really
practicing with your hatching and
cross hatching. And then being able to see values that you can create and being consistent with that. And this is what's
really gonna help. I'm working as fast as I can
so that you can draw with me and learn to see Mikey marks. So I'm coming back in different
directions to fill up all those gaps and keep it a little bit
cleaner and nicer. And the more I do that, the
nicer the value is on that. It feels Oops. It feels a little
dark right now. So I'm gonna take my navy eraser and just light it a little bit. There. That's a nice
transition there. You see that. Now I need
to go between these two. Still with my two H.
So I'm gonna start. Really light. 'cause it's much
easier to go darker. So I know that. I go dark really fast. Going around. Okay, I'm gonna go up to
that edge. Still need more. So I can see the
difference between the first one and this one. I can definitely see that. This looks very much alike. So I'm gonna come back again. Still with my two H. I get a value, a darker value. That's covering up more
of that space, isn't it? I think I can go a little
bit lighter here still, so I was just gonna
come back with this. I think that helps. What do you think?
I think it does. I like this one better
than that one. All right. Why don't we just a little
bit more crossed here. Mm hmm. Nice. In
our next segment, we'll be finishing drawing our value scale. See you there?
7. Value Scale (part three): This is value scale part three. This is the last segment
of doing the value scale. We're going to be finishing
it up low intensities, and really get to see an amazing value scale
and what you can make. And if you really like
it and have fun with it, please post it in
our project gallery. I always love to see
students artwork. Let's continue with our HB. And remember, pressure,
little more pressure to this. You'll notice the lines
are not as refined in your Bs as they
are in your Hs. So that's why it's so
important to keep this clean. See how dark and go fast. I need to lighten
up a little bit. It's just my HB. We haven't got into the
Bs yet, like the two B. What you're learning
is consistency, technique, and know that it takes patience
and time to do this. There's no quick way
of learning about art, even though people
will tell you that. Teaching college, it doesn't. It feels like it's going
dark a little bit too much. I'm going to lighten
it up a little bit. Then I'm going to come back with my H because my H is
a little bit lighter. This project is all about
seeing, comparing and doing. Without doing this, you really don't see that, that's nice. One, two, three, four, five, we are almost there still
working with her two age, and this time pushing it
down a little bit more. I'm gonna turn my paper so that my edges a
little bit cleaner. It's hard for me to do it
vertically over there. Oop. I ain't forgot
my little paper. It's been pretty neat so far. Usually, I'm
smearing everything. Looks like it's
getting dark too much, so I'm gonna lighten
up on it a little bit. Get a little bit more. There we go. Let's see. I I could
probably get away with this, but it just it's a
little bit too quick, so a little bit
more off of this. Not much. Yeah. We
are flying with this. Then we're going
to use our two B. You'll notice with this, Abby. Really makes a difference. Real quick. That's my favorite
one to work with is two B. And I think I'm doing
just fine here. So we've learned hatching, crosshatching,
pressure, lifting. That's just a way of going back and seeing that
value and making changes. And there's nothing
wrong with that. This is all about seeing
seeing is so important. The only way you can
see it is by doing it. I think that looks
pretty good like that. I'm just cleaning up
a little bit here. Last is our four B. Now we can really add
Persia to this one. Around here a little bit.
Because this is the darkest, so I can really get it dark in there to make that
nice transition. I like this. But my lines
have been consistent. And I'm sure yours looks great. You know, I'd love to
see what it looks like. So definitely posted in the project gallery to see
all your accomplishments. I just love looking
at student work. I just like the best. So a little bit more in here. And we have created
our value scale. Wonderful. In our next segment, we'll start a drawing exercise, and we're going to apply
these values of what we've learned in our
value scale to an
8. Drapery Folds : Drapery folds, part one. Now, since we've learned the value scale and have
those all completed, this is where we're going to go into and apply what
we've learned. This is a quick process. We're going to be
doing drapery folds. I'm going to show you a
little bit of hints about that and the transitions
of going light to dark. And this is so helpful that it understands why you're
using so many values. And the more values you use, the more realistic
your image becomes. It's a really good exercise. This I don't do
this in real time. There's some parts
in it. But again, it's under 20 minutes for
you to view, and it's fun. Now, what we learned
from our value scale, let's apply it to a drawing. I had several things
that you can work with. One of the things that
you could draw from is just a piece of copy
paper crumpled up. And this is one of the drawings that I had done from that. And what makes it interesting
is you can really get some lights and
darks and look at the different edges that
you can create in here. That's one idea. Another one, you could
be working just from a Kleenex and just fold it
and play with that idea. And thirdly, is working
from a drapery fold itself. Here's an example of what this project is
going to be about. It's going to be left a
little bit unfinished, but our main concern is
doing these drapery folds. Using a handel or cloth is
to hang it up so it drapes. It'll be much easier to
work with it this way. Here's my setup that
I'll be drawing from. I chose just a hand towel
because it's pretty thick, so it's easy to make some
really nice folds in there. And I have this little block
of wood that I'm hang it on. So I've arranged it, which
made it interesting for me. So it's placed in front of me. I also have a light source. I opened up one of my blinds and getting the light
from the outside. So I have a natural
light coming in. It is imperative and so important to draw
from observation. That's how you learn to draw. So get something set
up that works for you. We'll start out with a gesture. I find including the bottom
half is more interesting because you can see how it drapes across like
you can see in here. I'm going to do some cropping
and eliminate some pieces, but I definitely want to
include the bottom part. I'm going to start at
the bottom, actually. I don't forget to
have that included. I'm using very light lines so I can erase them if I need
to. That's all you want. The bends will be in here and I'll be able to put those in. Okay, I'm pretty
happy with this. I'm going to start working
with my HB and I'm going to place in all
the dark areas first, but not real dark,
a medium tone. Go in and see where
all your shadow areas are and begin to put some
hatche lines in there. You don't have to
concern yourself about chattels underneath it. We're just concerned with
the drapery fold itself. What's nice about these lighter lines that
you're working with is you can erase them and also make changes as
you're going through. Like I've done here. So I
could just raise it fine. Just a quick note. I use
my exacto knife to cut edge off my eraser so I
can have a nice straight, clean edge to it. I have a couple stills
right here just showing you the areas that
I've done some hatching. Here's another one where
the fold comes around, so you'll notice my lines are deeper because of the
pressure that I've added. And here I'm putting
in my cross hatching. The cross hatching really helps get with the very dark values. Here I've added more cross hatching as the fold bends over. When I talk about back to back, let me show you what I mean. I'm going to take a
four B right here, I'm going to make a heavy line. And right next to that, if I do some hatching
with a two H, as you notice, there
isn't a value change. But if I come back with my four B and bring in that
value that matches that line, then it becomes a value. Can you see how that works? In the next segment,
I'll continue to demonstrate drawing values of a drapery fold. See you there. Making it darker and
that edge to edge that I just explained to you and some
more hatching as it bends. And don't forget to
place a piece of paper under your hand or
your arm so you don't smear.
9. Drapery Folds (part two): Drapery folds Part two. We'll be finishing our
drawing in this segment. We're going to finish
up on our drapery folds in this segment. So continue with your drawing. Always keep your
pencils very sharp because it really makes a difference in the
marks that you make. And if you enjoy, please post it in the project gallery.
I'd love to see it. Have fun. Finished up
a little bit in here, and I want to show you
as it curves back. Notice I have my
dark darks here, the light that's hitting
from the light itself, a lighter value because of the light that's coming across, it slowly gets darker. But to the very edge here, it's called a reflective light. I'm just introducing
this to you right now, but we'll get more into it
when we do our project. It's all dark to light. It's really, really dark here, you're going to see a
light, a very light light. I'd like to also start with what we remember
from DaVinci, are the contour lines. I'm working with an HB
and I'm going to make a really nice contour line describing the edge and make
it look three dimensional. Because it's already
dark in here, I'm going to put some pressure, so it's a darker line, and then I'm slowly
going to lift up. I'm coming around a corner, so I'm going to darken it. And then I'm going to
slowly lift it up. O line to describe. I'm turning the corner here
I'm gonna make it darker. It's gonna be lighter in here because of the
curve of the light. It's gonna be darker
in this area, so I'm going to come down and
I'm gonna make it darker, comes up lighter and
darker to finish it all. How nice is that to
show you just with line alone with contour you can make three
dimensionality. I've done some work
hatching in here coming across in here. I just want to show
you I'm coming around. It's interesting. It could go one way or another, but this is actually going back. I have a real dark line here. I'm going to be using my TB and going right next to that
line and doing my dark. Now what's happening,
it's pushing itself back and this line
is no longer there, but now it's edge to edge. You see it now it goes back. Same in here with that dark line that I
created with my contour, I'm going to do
the same in here. There's just a few
more that we can do. I really gets dark, bringing your dark
darks in there. I have one up here that's
Let's see. It goes over here. Try to match things up. If I'm looking here and I go up, where is that next fold? It's actually over here. So just mention I have a
heavy line there because I'm going to go really dark and
then slowly get lighter. Working with my two B. But I'm going to
start with my HB, move it out, so it has
a nice blend to it. And then I can just
kind of lightly do it. So now it has that bend over
here. Come across here? Well, you're hatching lines. I interchange them sometimes or going this way or that way. With this particular project, it's okay to kind
of play with it. It goes a little darker in here. So put in as many
values you can. And start up here. Ah, look how nice
that H is next to it. That H really makes
a nice clean line. Those are it's hard to get
really clean with your B, so you tend to
kind of get fuzzy. So it's good that you really go through and make sure
that everything's sharp. I'm gonna try to clean
up my lines in here. So there's a nice value change in here and it's not so choppy. My two H will be a good one
to work with to start with, especially for my edging, making them really clean
coming across here. Then I see things in here. That's definitely
using your HB and trying to blend it in a
little bit more so it has a nice blend to it. So it have a so now it just
kind of moves really nice. I'm just gonna do a few
more things in here. Clean up lines, and I
think we're finished. Oh, one more down here. I want to do this dre
bring this line out. And it comes over, you know, leave it up there. When we are finished,
how fun is that? Uh oh, right in
here. I always see extra stuff and
blood it out. Wow. That's pretty neat. In the next segment,
we're going to be using all the wonderful skills
that we've learned, and we're going to make
the final project. Pretty excited about that. Oh, and don't forget to put your drawings up in
the project gallery. I'd love to see what
you've been doing. See it the next segment.
10. Final Project: Value as Form: Segments about our final
project value as form. Now we come to I call
the final project. It's a final exercise. All of these are exercises. Not to be worried about it. It's just a process and step
by step of learning I will do real time and demonstration
for you in this. It'll be three segments that
we'll be working on this, and it'll be about 20
minutes altogether. And this gets a little more
detailed because I really refine this project to make
it look more realistic. So you're getting an
idea of really how this applies to making
value to a form. Here's a sphere that I've drawn, and it's also a key
that you can use. Cora pointed out all
the aspects of it. On the left is the
full light highlight. That's your light
source, very important. And to your right
is your high key, middle key and tones, low key, the reflective light, which is that light
that's underneath the sphere that reflects off the surface like the
table that it's sitting on. It reflects that light
and your cast shadow. Referring to our scale to
look at. To draw an object. So I picked out some
simple objects here, like an onion or a lime, and this is actually a tangerine,
which is almost round. And to begin to just get the idea of creating
a form using value. I'm going to still be using my four pencils
that I had before. I'm going to start drawing with my HB and I'm going to draw
very softly to begin with. I don't want a lot
of heavy lines. I think I'm going to
draw the onion here. So I'm just going to use my arm. Notice, I'm using my arm, not just my hand to draw. This will help you draw circular
things and round things. So I'm just kind of
getting a feel for it. There we go. I'm going to have my end over here and over
here, the other end. I'm going to come in.
Notice how many lines are in there
suggesting my shape. I don't want as many lines. I'm going to eliminate
a lot of them. So it becomes what we call a contour drawing of just
one line describing. I'm getting light from the
outside coming this way. If you can see down here
is a shadow effect. So the shadows coming this way. I'm going to use my
darker lines down here just to show that's where
my darks are going to be. Now, you can choose to either go light to
dark or dark to light, medium, this is how I do it. I kind of draw out the areas that are
really light in here. So I don't go to them and
leave the white of the paper. I can always blend it in. It's much easier to have
that paper white versus trying to do the whole thing in a medium tone.
Some people do that. But you'll notice the lines in there are actually conforming
to the shape itself. Notice that? On right there. I also have lines that are
doing a contour to the shape. I can also make my hatching
lines follow that. So I'm going to start here
with a few hatching lines. I'm not going to be
drawing the whole thing, but I'm going to be drawing
most of it so that you can tell that it's a
shape in a form. So as I go through, I'll share with you some ideas
that I'm working with so you can understand my
process of drawing. But you can always choose the
way that's most comfortable for you because everyone
usually does it differently. It's a little bit lighter in
here because the lightness of it very dark in here the end. I'm going to also come
down here on this side, I have a nice value in here. I'm going a little bit
longer with these just because it's
conforming to my shape and I'm trying to keep it in
flow and also up in here. Not too long. Notice it gets
ooky when I go too long. You want to be in control of how you're
moving your pencil. So that was working with my two B. I'm going to start back up with my lights and try
not to move your object. With something that is round that you're creating
a form using value, you're going to have shadows. You're going to have things that are called reflective areas, and that's because
of the whiteness of this table reflects
backup into the shape, there'll be a very
dark dark here, but you're going to
see a highlight that comes in here, a
reflective highlight. Here is the actual highlight
from the light itself. This is reflective
because the light hits the table and
reflects to the shape. That will give you an idea of having something that's
three dimensional. I'm going to start with my
two B in this right now. And I notice it's not
as sharp as I want it, so let me go and
sharpen it up a bit. Probably wonder why I
have a Kleenex over here. You want to always
keep the points as sharp as you can,
which looks horrible. There we go. I like putting
in detail as I see it. Sometimes people
do it at the end. I do it as I'm drawing it. So I don't have to
go back and find it. This is gonna appear a
little bit different to you because you're looking at me above versus I'm looking across, but you'll still get the
idea of what I'm drawing. Come here. I'm not going to be using
my eraser that much just a few times
during this process. The reason why is because I've always done
this to my college students. I take their erasers
away for a while. No away from them, a
way that they can use them is because they
lean on it all the time. Draw a little bit, erase it, draw a little bit, erase it. Unless you just keep drawing. I just had a big area in there. I wanted gone. But the eraser will hurt your paper as well
if you use it too much. Come down here to the very edge, and I'm going to put in my
little bit of my shadow. I just love shadows, so I
guess I'm just doing it now. I noticed I'm doing a little
cross hatching in here, too, so that you can do both of these and combine
them together. And our next segment
will continue drawing our final
project. See you there.
11. Final Project: Value as Form (part two): This is our final
project, part two. We're continuing
with our project. I hope you're enjoying
it and learning, and it's always fun to
see what you create. Now, you're gonna be
thinking about creating form and using light to dark and trying to get
all of them together. Doing a little cross
etching in here. I'm going to come
back with my twoH. I want to fill up a
little bit more in here, and I'm going to try to
get a little bit lighter, so I'm starting to
see the value change. I can always go
back, so it's best to keep things
pretty well light. I'm going to make my edge with one line and make it nice
and Cris across there. So it looks If you
look up closer, and I'm going to eliminate
these little ones. It's dark right there, that edge because the
light's not hitting that. I like these areas and here these really
deep areas lines, and I'm just gonna go all
the way through with them. Meaning going all the
way across the object. See how it's starting
to take shape now. I've noticed these
lines are wrong. That's why I do it
like, 'cause I can come through and change
it as I want to. There. Now it's getting the
fullness of it altogether. WR through here. I'm gonna use my tube
here. I really darken it. Match up to the sign. And get dark there. Wow. Can you see
it It's evolving. That's just so fun and
exciting about drawing. Gonna go a little dark green here as it progressively
gets light up here. Dark green here. The docks. If you can't see the darks, you can kind of squint your eyes a little bit, and they're there. You know, really be confident in your drawing.
Draw what you see. Just don't try to create
it on your own and say, Well, maybe it is that way. Really look at it and
draw what you see. Okay. I'm gonna leave the light here. Remember, I talked about that. So just using the light of the paper really
exaggerating there. You notice I'm picking
up the pencil. So you've been learning the technique of
working with pencil, which is so important that everything stays
clean and concise. So at any stage, it can have a feeling
that it's finished, and that's what's
kind of fun about it. Since this comes up above it, I'm gonna darken
it right in there. There's another one in there. This is a little bit lighter. No, don't forget we
have our razors, but do it towards the end, okay? Now, let's kind of
finish up in here. I'm going to leave an
area right in here light. That's our reflected light. And really right in here, here, and down in here,
I'm going dark, so I'm gonna go right over it. Christopher ins Bring
out a line here. Here. And it's a little
bit darker in here. Gonna give some more
lines in there. It's really dark to this edge. So we have light coming from here and it's coming
all the way around. I'm gradually getting lighter. And another thing is
the pressure of it. I'm not pressing as much, so it can get lighter like that. But you start with my HB. Clean this up a little bit. I'm going to do a few lines. I'm gonna do a few ones in here. I go to get darker. In our next segment,
we're going to continue drawing
our final project, and we'll be finishing
it. See the next
12. Final Project: Value as Form (part three): Final project Part three. We'll be finishing it up. And definitely put your project
in the project gallery. I'd love to see it, see
what you've accomplished, and I'm sure you're going to be amazed of what you've done. Thank you so much for
being part of this. It's been really a
fun journey with you. Your shadow goes
right up to the edge. And I'm going to do
horizontally because I've got the table
I'm concerned with. I'm going to go up real
far here, and I go out. Dark and this in here. Darkness in here. And dark and this in here. I like working with this. It's going to be a whole
different way of doing stuff, but I just love how I can be
in control with this one. This one because it's
such a soft edge, unless you really
some people are so good at this that they
can just really pinpoint it, but there's just not
enough there that you can get to it where I've
got a nice edge here. I'm going to go just like I
was doing with my pencil, same direction, and I'm going
to go in and blend it out. I'm not trying to smear it. I'm trying to blend it. I hope people like to work
with blender tools. I don't. I just think it's an easy way of
making shape and form. Okay, I'm going to go all
the way up with this. I'm now definitely
gonna do the TH, I want to come right in here
and I want to blend it out. Use some nice long
lines in here and finish it up over here and bring them up a
little bit more here. And I'm going to turn
my paper around. I have more control with
how I'm using this. I'm going to come right to
the edge and just bring in that wonderful
reflective highlight and blend it just a little bit. Back and forth. Come back in. Up some of these edges. It's going feed down. There we have our
onion. Quick, fast. I can control of my line. If I want to go in and get a
little bit lighter in here, I can and lend itself
a little bit better, see how you can
utilize erasers to help lift off versus erasing lines over and
over and over again. Let's compare, hold
it over so I can see And I'm going to start to see how many
of these I can see. Alright, I see that in there,
so I can check that out. I have that one. Check off
right there. Right here. Right in here. No, not there because it's
more like that one. Definitely that one. And then right in here, I've got the dark darks. So what I've done, I've incorporated all of
these values in here, and that's how it's done. That's fun. Thank you. I am sure your
drawing is amazing. Thank you so much for
being part of my class. And don't forget to post your final project in
the project gallery. I can't wait to see what
you've accomplished. Next segment is my Final
Thoughts. See you there.
13. Final Thoughts: I want to thank you
for taking my class. I hope you really enjoyed it as much as I enjoy teaching you. I teach all the
other art elements, so please check them out. You can check out
my profile page, and all my classes are on there. I look forward to seeing you
in other classes as well. And if you have a chance, please give me a review. And also, don't forget to put your projects in
the project gallery. I love to see them
and keep drawing, keep making art, and enjoy the journey of being an artist. I hope to see you soon.
Jennifer Moorhead, Artist, Art Professor, and Entrepreneur
