Doing Drawing: Draw Like You Never Have Before

1. Doing Drawing Intro: My name is Ron Moby and welcome to Doing Drawing. Find out well that's more of an ellipse. Do a little talking. Another round and round and another round and round. Lots of lines. I guess you may have heard the expression, "I can't draw a straight line." The real meaning of that is that you haven't drawn any straight lines because if you've drawn a couple of thousand straight lines, say 10 thousand to half a million, you won't worry about whether you can draw a straight line. It's not about drawing, it's about doing. I'm going to show you the doing part of drawing. Just moving that pen and learning skills. The six universal lines or movements in life that we can use to draw with. Once these are mastered and all their variations, that's what this course is about, learning what is the Doing of Drawing? What do we do when we draw? This is what we do, round and round, up and down, back and forth, zigzag, wiggle wiggle, dot dot dot. You think it's childish. It's not. Check out this drawing by Picasso and you'll see that he knew these. He didn't put them down in a system or teach them but instinctively, he had to use these six, round and round, up and down, back forth, zigzag, wiggle wiggle, dot dot dot. He had to use these six lines because they are the only six lines that exist. Get those line's moving and away we go. I want to see you do some great drawings using big lines and I want you to be conscious that you are doing when your drawing. Round and round, up and down, back and forth, zigzag, wiggle wiggle, dot, dot, dot. What are we doing when we're drawing? Are we transcribing? What exactly are we doing when we are drawing? Maybe we're transforming, observing, recording, responding, reacting. Perhaps we're just changing, amending, adding, subtracting. What exactly are we doing when we're drawing? One thing is certain. We are moving when we are drawing. The evidence of our movements are described in lines. It's the doing of drawing, it's lines. Are there different lines? Are there specific lines? Is there something that I am missing when I'm doing drawing? This is about drawing and really learning the technique of drawing. Not just being able to draw something but what are the principles involved in true drawing. Let's sit down and let's begin our Doing Drawing course. 2. Your Greatest Drawing Discovery: Let's just say where you had a common grip like this or the two-fingered or the three fingered. Any of those will work. Three finger, you still can get you baby finger down. Two finger and the triangle three finger. So that being said, the pencils out perpendicular. Remember you are developing skills here. I'm not going to be teaching you how to change your drawing. I'm going to show you how to get it to the next level. So here we are. We're going round and round. Notice I am not lowering the pencil. I'm doing the whole dabs on my baby finger or you can use your palm, listen to it. Now, all you have to do is feel round. About 60 percent of the things you draw have circle center. Now as I lower the pencil, you'll see that I get fairly decent circle. Just by lowering the pencil, I'm not trying to draw a circle. I'm just going around like stirring something. The problem with drawing is we get thinking that we have to be drawing something. We're just learning how to draw. Now here's what you want to do. Lift the pencil off the paper, lower the pencil. Lift the pencil, lower the pencil. Drawing is movement. Movement from one place to another place. Lift the pencil, lower the pencil. How do I lift the pencil? Is simple, I just make a very small muscle move and allow my shoulder and arm to relax. Now I'm not trying to draw anything but if you look, I'm still using my knuckle. Go over it, hold your pencil anyway you want, I prefer this method, but make sure you got something here so that you can lower the pencil and raise it. I'm going to up and down and back and forth. Up and down and back and forth are what we call extremes. There's the pencil up straight again. Remember we're not drawing like this. You can see better this way. Now these are the drawing exercises when I draw, Of course I draw like this. I use my fingers, I used my arm. But right now we're developing an exercise that will totally revolutionize your drawing. I guarantee it. Money-back guarantee. Just send me a complaint, I'll send you 10 bucks. Notice back and forth uses the whole arm. See put your hand, go for a ride have a little ride on your hand than pit fingers are not moving. This is arm drawing we use it a lot. Don't be, don't get carried away a lot, just stick to the program back and forth. Next is up and down. Now, up and down, you want to use a whole arm movement. Think of pushing through something, pushing through, pulling down, pushing through, pulling down, pushing through, pulling down, pulling and then gradually just get a rhythm. Feel your arm, feel your shoulder, feel everything moving. It really should feel like exercise. Am I holding my pencil very firmly? Let go, run. No, let go. No. See I am really holding my pencil firmly and then will shake it out. So shaken now it's good. Now, hold the pencil a little lighter. You'll see the pencil tends to wiggle, like this. So it really is a little bit like carving. You've got to hold that pencil. Now, notice what happens when I take my arm off the paper, you see how the line is not quite so controlled, and that's fine. But if you want control, you need that finger on the table. So when does up and down become back and forth? Let me show you why we do up and down and back and forth. Turn my paper this way, up and down. Eventually, if you're going back and forth you'll see took up the little finger there. As I go around, the up and down line happens here, back and forth, up and down. Consequently, all those lines going in any direction are considered within the range of up and down, back and forth. So we've now covered those three movements. Let's go on to the zigzag. I'm going to change to a thicker pencil. Now. Zigzag, okay, the zigzags, same thing. The nice thing about zigzags is you can actually get your arm off the paper because the zig stops, zag stop, zig stop zag stop zig stop, zag stop. Remember you have to stop to get the pointed line. So if you go fast, you really have to hold onto your pencil. Zigzag, zigzag, zigzag, zigzag, zigzag and use your arm muscles of your shoulder and bring my shoulder muscles coming right into this. I'm really gripping that pencil. So the harder I press, the darker the line, I can go light. If you have a tendency to draw very lightly again I can ask you to consider really gripping and gridding and get some strength into that drawing. Get little exercise. So there's a time for light and there's a time for dark. If you want dark, you have to bear down. Bearing down on your line gives quality to a line. Lightness gives quality to a line, also contrasting dark and light. Next is the wiggle. Now the wiggle is an excellent, excellent practice because it's flowing and drawing sometimes we think it's all flowy, flowy, but sometimes it's zigzaggy. Some different strokes. So we start with letter S. Just let a few Ss flow. Now of course we all draw in one direction, we just don't know it. So draw the S backwards. You might have to think a little bit for that one. Frontwards, backwards. Now if you want to get good at backwards, just look at the backwards. The backwards want to go this way to that way. The forwards ones go this way to that way. So backwards and forwards very good exercise, just the Ss and here comes the wiggle. The wiggle pencil is not moving and like the zigzag, the wiggle for whoop, for control, watch it. I'm not allowed to touch any of the lines for control. Whoa, the wiggle is off the paper but you can do it on the paper too. If you want to be strong wiggles. We're almost through the, well, let's do the last one. Dot, dot, dot, dot, dot, dot, dot very simple and the pencil is up straight and we're dotting. There they are, the six lines of the Artabet. The Artabet is like an alphabet with these six lines and variations of them, we can draw anything. Round and round, up and down, back and forth, zigzag, wiggle wiggle, dot dot dot. Those are the six. Now, what do we do with them? 3. Gaining Skills In Drawing: Round will always draw us into a picture or a room. First one is round and round. You go round and round, and we're going to talk about a little thing called symmetry and that's how you keep things balanced. 12 o'clock, six o'clock, three o'clock, nine o'clock, and then fill it in all the way around. Great little exercise. Now we can continue our little design by adding smaller ones in each interval. Now we really are drawing, which is not drawing something, we're drawing other things, such as a design. Now we can fill in each one of these little places you see where they are round each one fills in with a little smaller one. Now notice, we've introduced, I'm drawing it down, finger drawing. Most of us are fairly good at finger drawing because it's controlled and it comes from printing and writing. So our finger drawing is very developed and were quite good at it and that's why we draw small. To draw big, you can't use a finger because you run out of fingers. There is your range for finger drawing, but to get all the way around to complete our design, we have to use our whole alarms. So now back to here. Now you can stop the film at anytime and catch up. Today we're really focusing on round, you can't do all of them in one class. Notice I'm talking, I'm actually going to close my eyes and feel the round. I don't care if I go out of the paper, I'm just feeling round and listening to it. It's got a switch to it. Now I still have my eyes closed, and what I'm doing, I took a little peak there. I'm working this motor memory into my brain. Now I'm going the other way. So many rounds,you've got it, 10,000 times. Repetition is our mission. Searching line is when we use these little drawing shapes to get all our shapes. The searching line is okay, if you're drawing specific things and you want ultimate control but you don't have any line quality. The lines are merely a means to an end and then we go over them with stronger lines. Now, who did these kind of lines? Well, some artists like Raphael, Leonardo. So there's my little drawing. I've gone over it, I might even, if I'm doing some graphic designs, now I put it on my software program with my welcome board, or paint net or my Photoshop and I straighten everything and shift it, and they end up with a perfectly drawn three-dimensional shape, but no quality to lines. So if we're drawing with feeling, you'll see there's a difference. We don't use the searching lines. We get strong drawings and then we can reaffirm where our drawing's going from. So if you need ultimate control and you're satisfied with this kind of drawing, you can't join the Picasso Club because that's not the way that he drew. He drew using these lines. Now whether he actually knew about these are not, I've watched him draw and he uses all of these lines. As a matter of fact, all great artists have used these lines for centuries. So here we go, we did round and round, now here's the next one. This is what I call the up and down back and forth exercise. Now, there's different ways to work it. Just working your muscles this wave back and forth on an angle, this way and let's get this one going. Here it is. Pull down. Push across, left to right, right to left, whatever angle you're on and then this way, so one on this side, one on that side. You can go right down like this, lifting the pencil at the end. Next one, so to recap, pull down, push across, pull across. Next is push up. Push up is a little more of a challenge until you think of karate or tofu. Tofu is how a vegetarian defends themselves. So the tofu stroke going this way. Last one is on last coupled or on an angle this way, you basically think of every direction that you can draw a line. Notice, I have not moved my paper, not once did I move my paper. So down, up, across, back, down, up, across, back. Make up these little games. That's called the flick stroke, flick, across, on an angle. I'm going to do with one slow motion. Holding the pencil here down, pull, it's like a tennis stroke. You need to follow through. That's up and down, back and forth and round and around.[MUSIC] 4. Creativity In Drawing Is #1: What do we have? Round and round, up and down, back and forth. Those three will give us a mystery animal. Let's do a quick little cartoon for animation. Round and round, up and down, round and round, up and down, this is actually going to be a drawing of something. But we're using it as an exercise in gaining confidence and freedom in your drawing. Round and round, up and down, and then round and round. See if you can really carve that circle round and round this way. Round, we all have a direction that we stay away from. Obviously, mine is this direction, whereas it were little though. Oh, oh, it's coming, it's a right-brain, left-brain crossover. Look at that. It's coming, now back to this one. Still a little more confident there, this way, that way. Okay, just get the exercise. Round and around for the eyes, round and round for the eyes, little finger drawing for the eyes because we're not using the dot, we're only using round and round, up and down, back and forth, up and down, round and round, round and round. Let's do a back and forth here. We have to get a zigzag. Round and round, up and down, back and forth, zigzag. But I'm going to add a little character to my zigzag. I'm not just going to put a zigzag in, I'm going to put a zigzag across the top like that, and then one big one over there, and one big one over there. Zigzag over there and over there, then down, round, round. See the round? If I continue that, that would be round. Round, round, round, round, round. It's kind of a round zigzag, but it's still a zigzag, and then pull it down like this, pull it down like this, little zigzag there, little zigzag there. Shade in the nose and leave a little white spot. The shading is basically a line on an angle. There we go. Shading is really using these lines. There we go. Quick little drawing of a dog using round and round, up and down, back and forth, and zigzag. Now, if I did it like this, using the same idea, this if just be a quick one here. See those lines that we practiced, round and round, up and down, back and forth, zigzag, wiggle, wiggle, wiggle, dot, dot, dot. Get it done, practice it, and now you're doing drawing. Now we are working with the round and round, up and down, back and forth, and the zigzag of hundreds of exercises to develop this. But let's just take the round and round, and let's work oval into the equation. There is round and round. Now, the next is the oval. The oval is very much like back and forth, except that it is grounded. You'll notice it looks pretty easy when I'm doing it, and I've created a sphere, a three-dimensional shape down. If I can slow this down for you, I want you to think that the front of the oval, the pencil comes down the back of the oval, it lifts off. That's why that first exercise with all the pencil grip, round and rounds is so important. Now I can add the whole part of the oval or the ellipse. But usually, if we're learning how to draw a 3D, part of it is in the front, and part of it is in the back. You don't see it. In this case, for this exercise, I'd like you to draw some circles with ovals. We'll practice a little exercise called atom ellipse, which is an oval this way, twelve o'clock and six o'clock, and three o'clock and nine o'clock. When you watch this, you can see that the front part, now I'm using a finger drawing, the front part is darkened. So that you can develop the ability of perspective, which means perspecto, the Latin to see through. You need to draw in perspective to see through. I can guarantee you that you probably felt insecure in your drawing when you reach the tender age of three-dimensional drawing. Let me get rid of that fear for you right now and concentrate on this shape. Suppose we were doing a teacup, oh, it seems like such a simple thing. There we go. The tea cup, of course, is a circle or round and round a sphere. I put an ellipse through there. It does not look easy. But let me tell you, you have to practice these shapes over and over. First, round and round, practice it until you can master it. Then move to the ellipse. Practice the ellipse in all different directions. Once you have drawn these six lines and all the variations, this is the round and round variation, then you can get to work on putting them all together to make things such as a teacup. Once you've done that, you'll start to get good at drawing. But you have to put in the time to doodle a bit like this and get quality in your lines. Then you can do whatever you want with it. But just to review this class, let's go over it quickly. We learned round and round, up and down, back and forth, zigzag, zigzag, wiggle, dot, dot, dot. They were introduced. We concentrated on the round and round, and the ellipse. Then we did the up and down exercises, and the back and forth. We did a little dog with a zigzag, and then we practiced putting the round and rounds with ellipses through them. You can try that ellipse, 12 o'clock, 6 o'clock, and 12 o'clock, 3 o'clock, 1 o'clock, and then all through the different and you, looks like an atom. See? Very good. 5. Pencil Paint And Digital: Very simple little picture of a little chicken. Zigzag and he's stepping out of the barnyard. Little taiI, little wing, and a wing here. That's a simple little drawing that didn't take me very long. You need to be able to have some fun with your art. Don't get all serious about it. Nothing wrong withdrawing simple little drawings like this. You will get good at it. It's very easy to do. You just add little shapes. A little bit of perspective such as one foot in the body, one foot on the other side of the body. Maybe add a little ellipse and put in the broken egg. See. Here's where your eraser is your helper. It doesn't get rid of mistakes, it helps you draw. I'm just having a little fun here, maybe I'll add those little legs like that. We have three, 1, 2, 3, oh where's the other egg? I'm going to do it slowly so you can watch. Make around circle or an oval, put an ellipse through it, see if the ellipse. Decide which is the outside and the inside. This can go either way. If I darken this one, the egg will be coming from this side and you'll be able to go in here. If I darken this one with it, you'll be able to go right in. If I only darken this side, you won't be able to see into the egg. Let me do both of them so you can see. There's one, the chicken can go in there. Well, why not put a chicken's head sticking out there with his feet broken through the shelves. I mean, this is the thing that full-length animations are made out of is ideas. But if I erase this and I put it back in, and I darken this side only and erase this, I only can see this part of the egg because this part is invisible. On the other side, though, see how our eraser is helping us draw and I'm going to print some cracks in here. Darken here. A bit of sand at the bottom. Erase that. I'm just working on card stock paper, nothing fancy. This is my idea page. Maybe a couple little shells lying down, maybe a few drips, oh we didn't cover the teardrop. Teardrops come from round. It's one of our little exercises. There's my teardrop practice. You teardrop. I had to throw that in for here. Got a little ahead, but you can practice the teardrop because it's too much fun. These guys, these girls, these boys, whatever they are, they just come out of the egg. There we go, we got the zigzag, got the round , have the ellipse, up and down, and back and forth, right there. A little paint. I just take some of this gray stuff here, put on the inside here. The card starts great for getting ideas and quickly painting things. Add little of the green over here. Little texture on the ground. Little bit of red. See, you could use colored cans, whatever you like. I'm using the brush just like a felt pen. Just throwing a little color on having little fun. The eggs could be red to. How do I make the eggs look three-dimensional? Very simply. Take a little more of the red and make the bottom part darker than the middle, leave a little shine in the middle like this. Probably one of the most important things is to put in a horizon line, which means you just go straight across. When you come to something, you hop over it and then add something up here, like a mountain. Maybe they're lost on the beach or something. Another line here will make some water, and then you just throw that in. We're just using color, just popping it on the card stock paper, getting an idea. We're not getting fancy. What's going to happen here is you can change this and work on it and make it into a full-blown painting or illustration. I'm just taking a few my colors here and there. Filling in the white areas, leaving a few areas undone. One of the great things you learn after painting many times is your first coat is just the beginning. It's just a matter of you learning a few principles after you've drawn your picture about painting. The main principle in painting, especially illustration, is dark and light. Where to make things dark and where to make things like. Your second coat is always going to be a little more interesting or go a little farther than your first coat. Very simple. What do I do? I'm looking at my picture. I know some principles. I know a principle called dark and light. Well, this is light here and dark here. If I do take a little more blue and notice I'm not too fussy about the colors being terribly clean. The reason being is I like to work in grays and then when I get onto my computer program, I can add some more brilliant colors very simply over top of these. Watercolors show up perfectly on a computer. Acrylics do not the changed value and color, but it seems the watercolors turn out absolutely exactly the same as what they look like when you're in the studio. There's a reason for this. The reason is that computers use spectral light. The very quality of light is best produced in a water color because the light goes in, hits the white paper and bounces out through the colors and that's pretty much how it works on a computer with all their pixels and technical jargon and I have found my watercolors look exactly the way they do in real life. I'm going to put it onto my computer and I'm going to fix it up a bit on the computer, add some more things to it. I'm going to have fun with my art. I'm not going to give up on my project just because it's been 20 minutes or an hour. There'll be more of this for you to see. Treat your painting with a little respect and put it in a wonderful outfit, called an art, and you'll start to respect it and see there's more here than meets the eye. Ready to take the image, put it in my computer, and sweeten it up again. 6. Prep-Work For Next Class: In our next class, we are going to be doing some finger drawing. Now, finger drawing is not full arm drawing. There are at least three approaches to drawing and this illustrative style is what we would call cartoonists used to use back in the day. Because they had to draw small pictures. They didn't want big pictures. So you can see that with my hand on the paper that I can draw this shape in one continuous line. After I've drawn that shape, I add this shape. Let me just show you quickly how finger drawing is an illustrative style of drawing, but you have to keep it small. I'll give you an example right here of doing that. We start with just to shape. Notice that my fingers are doing the moving. I've got a firm grip on my pencil and because I've practiced so many of these, I can guide my pen. I really can feel the muscles right in here. I can really feel them. I'm going to add a little round on the top and straight in here. You'll notice that I've worked this picture out quite a bit. Meaning I know exactly where the steps are, just like a animator or a cartoonist. Everything they do is worked out and I'm still controlling everything with my finger drawing. I'm going to add a little variation here just to break it up a little. There I have a little drawing of a penguin. How do I draw it realistically like a rock or something? Well, because you've practiced all these round and rounds and up and downs and back and forth and zigzags. Let's just take something simple. In drawing class sometimes they'll do something like a piece of tape or let's draw a pen. Let's draw a still life. Choose something that is simple, that you can draw. Here's something that at least has some attraction to you. It's a brush and you put it right in front of you and then just start using round and rounds. Find out, well that's more of an ellipse. Do a little talking. Another round and round and another round and round. I'm almost doing it like right exactly with what's in front of me. Look at that life-size. See. So there I've drawn basically that shape. Now you can leave it at that. But let's go over what we did. We used a round and round. We used another little oval, another little oval, and an oval here. Now I can probably add some back and forths. There's my ellipse. I'm having a good time drawing it because I feel confident. I square this off and I'm looking at it. So this type of drawing, we will definitely be doing one of these in the next class because not everybody likes the cartoon look. Here we go. Okay. How long has this taken me to draw? A couple. Not very long. Some of you might say, well, I like shading. There's your back and forth stroke you see, start with shading and adding a little bit of shading here to make it look three-dimensional. You just start looking and shading, adjusting everything. Putting it in a shadow maybe with, learning how to use our finger to put in a shadow and adding dark accents. There we go. We have a fairly good drawing of this little badger hair. I think it is, it's a shaving brush that I used to, when you're drawing, it's good to have a brush to sweep it off. Now, my eraser, what do I do with my eraser? I use it to clean up the edges on my drawing. So look, that goes that way. That's what we're going to do. Some of you might like flowers. We will be doing lots of different things and lots of different ways to draw. I want you to just do these basic exercises I've given you in this class and get really good at round and around, up and down, back and forth, zigzag, zigzag, wiggle, wiggle, dot, dot, dot. Because we're going to the next level in the next class. There's always another level to go to. Stay with me, finish this class and I'll get to work on the next class. I promise to deliver what you want. 7. Daily POWER DRAWING: Up straight like this pen. Like I say, you're moving on your palm of your hand there. We start with our power drawing. Here it is, first, round and round. Not too big, not too small, just the size of Montreal, rounded wrap. Follow with me. Power drawing means you have to participate and you can participate without even a pen, you can just do it like this with your hand, round and round, up and down, back and forth. All you do, is put the pen back and up and down, back and forth. Don't worry if they're crooked. We'll use crooked lines all the time, up and down, back and forth. Now I want you to zigzag all the way around. If you're losing control, it's okay, go out of control for a while. Zigzag, zigzag next to another zigzag going around that one. Hand-eye coordination, moving quickly. Get over the idea. There are mistakes in art there are not mistakes in art. The wiggle, wiggle, wiggle, wiggle, wiggle, wiggle both ways. Wiggle down, wiggle up, wiggle across, small wiggles, finger wiggles. Use your fingers now, get down to your fingers. You'll see that fingers give you control. You can't draw big with your fingers. First, power drawing exercise, that's it. Now, what do you do? Go over it? Yes. Round and round. Go over your lines up and down, back and forth. Zigzag, zigzag, zigzag, zigzag, zigzag zigzag, zigzag, zigzag, push yourself move it, and way we go next one, zigzag, zigzag, zigzag. We have to stop for a second, and redirect, it's okay. Just keep your eye looking ahead like driving a car. Always keep your eye on the road. Next one, wiggles. Don't be afraid if you go over them, it even makes a greater pattern, look at that. Wiggle, wiggle, close your eyes and do it. Just feel the wiggle. Wiggle, wiggle, wiggle, wiggle, wiggle, wiggle, wiggle, wiggle wiggle, wiggle, wiggle, wiggle, wiggle, wiggle. The last one is dot, dot, dot. Let's make a rule only dot on the middle one. Now we're not hitting it hard, but we're dotting. Look at that pencil move. It's good to get action and feeling into your drawing. Don't be all precise and worried and eraser and pencil make a mark. All that's not straight you go to erase that without fear about it. You got to do it again. Oh, I did the same thing again. I keep doing the same thing. Put the eraser, the pencil aside, and get your power drawing going. This is our first one.We are going to be doing five of these classes. This is Number 1. Each one will go up a notch. Eventually, you'll be doing things like the waterfall. Just moving that pen and learning skills. That doing of drawing. It's right in your hand.