DRAW SIMPLE - Cylinders

1. Introduction: Hello, my name is Jessica. I've been an artist and art teacher for almost all of my life. And in all of that time, my mission has been to simplify the basics of drawing and painting so that it's not a big mystery, and so it can be done comfortably without fear. Today. I am here to talk to you about how to do that with cylinders. Cylinders are just in everything all around us all the time. And people feel like they're a little difficult to draw. And the culprit is the oval at the top and bottom, and keeping curved lines parallel and so on. But with some really good tips and some practice, you can learn to just casually drug great cylinders to make any kind of object that you want. Your project at the end of this class will be to do just that and make 123 or all you want. Actually sketches that incorporate things that are cylinders. And if you upload them to the project section, I will give you feedback. If you ask for it. I will give you answers if you have questions. And otherwise, we can just admire each other. Sketches of cylinders, supplies, nothing but a pencil eraser and sketchbook or paper drawing paper of any kind. That's all that you need. And so let's get going. 2. All About Cans: I would like to introduce you to a can of water chestnuts. I chose water chestnuts we can as they come in a little shorter can, then a lot of other things do. And when we're talking about taking a really good look at a cylinder, I wanted to make it happen under this camera without too much distortion. There is some thinking out in the art world. That is a better thing for you to see something and dries and not think about what you know about the something. I have a problem with that I really do as a person who's taught art all my life, I really think that the knowledge you have about an object is an important part of you understanding how to draw it. And so I make that a part of my teaching and I'm going to introduce you to this can and water chestnuts to introduce you to what you know or should know about a cylinder. And that is, that a cylinder is made of only, it's a three-dimensional object. It's only made of three planes to them the same, one of them different. The top of a cylinder is obviously a circle. And we can see that right here. And the bottom is also a circle, so that's two of the three planes. The third plane is a rectangle. But if you look at this data on eye level, you can tell it looks like there's a rectangle there if you ignore this, the shading of it coming up. But it's a big rectangle. And it's a rectangle that's been meant around in a circle to connect to the top and the bottom. So when we're trying to draw cylinders, cans and things like that, we're going to be thinking about what is it really made of. And that is going to guide how we draw what we see. Instead of leaving the what we know out of that circle is viewed from different angles. It becomes a series of ovals. And this is really easy to see here in the more severe the angle, the more narrow the oval. Okay, That's the one thing that we need to know. Another thing that we need to know is about parallel lines. This is a rectangle. And we know a rectangle is made out of parallel lines, top, bottom, left and right. If we took this label off of this can and lay it flat, we'd be looking at a long skinny rectangle. So we know that the line at the top of the rectangle is going to have to be parallel no matter what perspective we're looking at it from it's going to be parallel to the bottom line of the rectangle. Since the circles are connected to the rectangle, then they're curved edges, which we see when we see this at an angle, are going to be parallel to each other. So one of the biggest clues of somebody, you, unless they're doing it on purpose and there's a masterful artists, but usually one of the clues that somebody who doesn't really know how to draw is that you will see that they have drawn a glass or a can or whatever. So under, and they have this curve up here because they can see this, but they don't think about the fact that this line down here, it has to be parallel to that. And so they'll have a nice oval at the top and a straight line across the bottom of the glass or the vase or whatever. And it just doesn't look right. And so you know, right away, whoops, that person doesn't know how to draw a cylinder. Another good thing to look at, and I'm going to pick a, another odd thing here. I, I have a lot of little water jars that I use when I'm doing my watercolor. And this is a cylinder as well. Smaller, about the same height. But a clear one is a good thing because it allows you, when you look at an angle to see that bottom circle as well as the top circle. And you can tell they are basically the same thing, but in this distance they would be same oval. So you can see here the eye level line because of my watercolors staining this. And so if we were to look straight on at eye level, then we just see a rectangle. Straight line, straight line, straight line, straight line. Okay? But we know it to be true that the top is a circle just like the can and the bottom is a circle. And that when we look straight on, we have a circle. When we tip it, we have an oval. In this case, we can see that we have two ovals and both of them are visible because this is transparent. So this is what we know about cylinders. And the other thing we know. And it's most people's opinion, they're really, really hard to draw. And they aren't easy. But once you understand and once you do a lot of practicing, they're not really hard either. The culprit is the darn oval. Ovals are very difficult to get used to and to get able to draw correctly. And we're going to talk about that next. 3. Drawing Ovals With Your Arm: If you've ever watched a pendulum swing, you know that it finds its perfect arcs and it will say, it will be swinging in a, an oval and it will sometimes straighten out to a real narrow one and be going sideways and sometimes the reverse direction. This is how fortune tellers do it. Anyway. Your arm is sort of like that pendulum. And given enough freedom. And using your whole arm and your wrist, you are going to teach yourself how to draw a very good oval. And the more you do it, the better you're going to do it. I was tempted in this class to have like music play for like 5 min and then a dinner ring and you would have to, you have to practice ovals that whole five-minutes, but the content police at Skillshare would probably arrest me for that. So I'm not going to do that, but I am going to ask this of you. I am going to show you how to get your pencil on your arm moving so that you're on the track to do nice ovals. And then I'm just going to beg you to sit around while you're talking on the phone or doodle time, TV watching or whatever, with your pencil and with your sketchbook. Not a good sketch book just to practice thing. And just draw ovals, draw ovals and draw ovals and draw more ovals and just keep on drawing ovals until your arm, we're pretty much give you a good oval. Now, could I do this a long time ago and I started out, oh, no, no. But in here with a little bit of emphasis, I have found a true oval. So I use very light pencil. I use three H pencils because I draw in a sketchy way. And I think it's the only way that you search out the right form. The wind is blowing and the pollen is attacking me and I'm really sorry, it's not my microphone. It is Mother Nature torturing me. Okay. So you saw what I did there. What do you did not do there and what is never ever going to work is using your wrist and tightly drawn one line and drawing an oval. It looks great, doesn't it? And I wasn't trying to make that bad either. Oval thing has to be sought out the way the pendulum swings. And so it's going to take a motion that moves in a lot smoother and less controlled way than when you are doing this holding a pencil, your hand just isn't going to do the same thing over here as it starts out doing over here. And it's important that this is like this and we're going to look at that in a minute using Procreate to help us make perfect overs. But I want you to see the movement and the movement moves your whole arm. You can't see my whole arm, but you know that my hand is connected to my wrist, to my arm. Therefore, we are moving the whole arm. I also have the sketch book on an angle because this is my arm and here's how it's going to move and that doesn't really do it unless I'm not crooked, all balls doesn't do it. So you want to align your book up with what you're doing. And then you just want to get going before you ever even touch the paper. And then just kinda go lightly and sketchy until you see that oval emerge. That is pretty cool. This one's fatter than the first one I did. And make these choices according to what the angle is that you're looking at the cylinder. But you just do this. You do it large or small and you do it over and over again with your whole arm attached to that pencil and you keep going until it emerges at first. When you start doing this. If I stop there, I'd have something just as bad as I did when I just drew it with a single line. So I watch, I just keep this thing going until it evens out. And I mean, why not be perfect, but it's going to be in there. You see, this was too much over here and you get rid of everything you don't need. But you see the true oval coming through for you there. So that is how you start doing it. And they won't look this good when you first do it. But if you sit around and draw these pancakes until you go to bed tonight, it is going to finally, these are going to start coming out and you're gonna go, Oh wow, I see where that is now. Okay, So I'm going to take you over to procreate where tools help us to draw a really good oval. Because I wanted to tell you the facts about ovals and show you the facts. 4. What Is a Perfect Oval?: Okay, Now we're over in Procreate and I can do the very same thing. I have a sketching pencil chosen as a brush, and I have black as the color. So with a light touch, it's going to look gray. And I can do the same thing. Light, light touch, and are moving and moving. And I can make pretty darn good ovals and flesh that out a little bit because it needs to be same there. Same fatness. Okay. All right, so we can do this in practice here if you'd like to work digitally. I am going to turn that layer off visibility. And I'm going to add a layer. And because there are magic tricks and procreate, you are able to take your pencil, drawing on the wall and sit there for a minute and look at what happened. You have a perfect oval. And people, some people say this is cheating, but that's baloney if you're, if you're using Procreate where I had with that. Now, you, when you lift your pencil, it stays there, but up here came something that ovals are also ellipses. And up here came a little choice to edit our ellipse. And I chose that. And soon as I touch this again, those little spots are going to go away. And so I am going to take a screenshot up volume and the sleep button of that oval. And I'm going to save it. And then I'm going to go ahead with saying, okay with us. Now, I'm going to go and get that screenshot I just did so that we can make use of it. And I'm going under the wrench, I'm going to actions and going to add, insert a photo. And I'm gonna go and choose that that we just had. And I can make it bigger just so we're not looking at all of the stuff. Okay. And I'm doing a de-select there. So this is what we got. We wanted to save this because it had these perfectly placed dots that divided it in half this way and in half this way. And now I'm going to add another layer. And I'm going to do another Procreate magic trick, which is I keep the pencil for now. Which is that if you draw a line and then you hold onto it and don't let go. You see what you got here. And it makes a perfectly straight line. And I'm going through that dot and through this one now I can hit edit my line. If that's not right on the dot. And I can move it so that it is, it is really pretty much on there. Okay. And I like that. And then I'm going to do the same thing through these two. Wait till it's a really straight line. It's going through both dots. I did this to show you that each quadrant of an ellipse or an oval, however you want to say it is the very same size and shape. Okay, so if we flipped this piece over here, it would be a dead match. If we took this half and flipped it over onto there, it'd be a dead match. In other words, each of these parts is exactly the same shape. They're just arranged differently. You can imagine if you had a pine, you cut the pieces and the pieces are all able to fit on top of each other if you flip them over. Okay, So this put this in your knowledge bank because when you are trying to come up with the perfect oval, when you're drawing it. You need the two halves of it to be the same. And you need the two ends of it to be the same. And this can really make a difference. If, if this end was pretty pointed and this end was rounded, it wouldn't look right. They have to be the same thing. So outside of Procreate and digital stuff, there is a trick that you can do if you really anxious about your oval being correct. You can draw, use a guideline. It has to be straight up and down. Can use a guideline. And you can draw half of an old law. Then we get a piece of tracing paper. With a pencil. We trace this is still that three H, but it makes it nice deeper. Mark on this. And you just want those two lines because they got lineup again. Okay, And then because this is exactly the same, turn this over to the pencil is down, line up the two verticals there. And then trace on this side to kinda imprint that. On the paper underneath. That was a very light imprint because it's a white pencil, but I can go over it so that you can see it. And there we have a pretty darn good oval. Okay. I never do this anymore. Because I do this in my brain and my hand have worked together to learn what is supposed to look like when it when it gets there. So when I'm like doing this and watch him when I'm getting I recognize when my correct oval gets in there. Okay, In this case, you would of course, get rid of your cheat line. There you have your overall. So now let's move along and see if we can draw ourselves a pretty good cylinder using a couple ovals and a rectangle. 5. Drawing a Planned Cylinder: So we're going to draw a cylinder based on this little plastic cup as our model. And because it's small enough to see him to hold. And we're gonna look at a kind of a moderate angle there. Maybe this bottom is tipped up about 30 degrees or so. Okay. And so the first thing that we need, and this time we're going to want these two to match. And we're gonna do it the planned way first. And then I'm going to show you how to do it just casually. So the planned way is that we're gonna get our tracing paper and we're going to make a line that this time I'm drawing it a lot bigger than it is here. This time is as long as the whole cylinder. Now I'm free handing this, this line has to stand straight up and down on your page. It has to be parallel to the edge here. Then. So I kind of have it that way. But a lot of people wouldn't have it that way because they don't have all the practice. So if you don't have all the practice, then go ahead and take a ruler. Let me make sure The true, the same distance from the side, roughly speaking anyway. So we want an oval at the top and I am just looking at this and I'm just arbitrarily saying, I want my oval to be about that angle of looking at this cylinder. Okay, as we did a minute ago, we're going to use a piece of tracing paper and put it on the back. Is this and I should probably try to make a darker is. Anyway, there is where the guideline is. And then I'm going to trace my overall. All right, and so to make sure that my top oval is right, I am going to line that up and then do this and hope it offset it did. Okay, so I'm just going to strengthen that so that we can see it. Alright, now, I want this same oval down here too. I don't want to see the whole thing even if we wouldn't in the end, if it wasn't transparent, we're gonna draw the whole thing always. So I line up my verticals, pushing hard on this pencil so that that will imprint. And so that I can then have some more lead to be transferring this bird. There we go. We're getting there. Okay, so all we need now are the sides. And the sides. There are a couple of parallel lines and just 1 min, I am going to talk to you a little bit about parallel lines because they're so important in drawing anything. Right? Sorry, I didn't hit our hair where I was supposed to. Okay. There we go. Alright. Now we're going to come in and get rid of our guideline because it's just going to confuse us. Now, if we look at our cylinder, we see that there is an extra little oval to this bottom. And it's because there's a bottom in here that has a thickness and there is a room up here. And so we are going to come back and do this as soon as I talked to you about parallel lines. 6. Drawing Parallel Lines: Drawing parallel lines is your tool to dry most man-made things. Woman made things in the world. And so it's really important to know. And so while you're practicing or after you're practicing your oval drawing, sit around and practice parallel lines draw. Picket fence is related to a good way to do a lot of them in a row or birthday candles or something. But anyway, the idea is this and I am not going to, my first set, I am not going to stand up straight. I'm going to say that we draw a line that is our source, fine. Our first line. We want to draw a line that is parallel to this. It is not that easy to just do that when you're watching a line that you're drawing. Because that wants to go all over the place. And you don't just do it with a stroke. What you do is you pretend this is, this is an electrified fence and you need to stay at least whatever this far away from it to not get electrified. And so while you draw the second line and you do it in a sketchy little stroke way because you're hunting. You are watching this line. Remember when you were young and you were playing softball and they will keep your eye on the ball. Never mind looking at your MIT. Because if you were watching the ball, your hand would go there and catch the ball. Well, it's like related to that. That if you watch this line and you want to stay this far away from it, you can do that better by watching this than watching this. And so I am looking at the top line and I'm judging that space between as I make little light marks to go along and stay the same distance away. And that's the definition of parallel, of course, is that anywhere along this line It's the same distance away from the other line. If you do want true verticals, like if you're going to draw a picket fence, you have to start with a line that's already vertical. Usually that works out. I don't know if flip this for this moment, but usually that works out to be the edge of your page. So when you draw your first line, you are watching this. I mean, when you draw your parallel line, you're watching your first-line, your first sign in this case is the edge of the page. And if it's all the way in the middle of the page, and this is too difficult of a judgment to be watching that edge from overhear. It is a fine thing to make your first line mechanically. And let's just say it's at four and a quarter. I'm gonna make that line. And then I'm going to make another one mark at four and a quarter. Then when I connect those two, if all in the universe is right, I am going to have a line that's a true vertical. So if you're starting a house drawing your urban sketcher or something you're starting and how it's drawing. And it's going to, your first line is going to be in here. Then you might want to do that just to make that first guy up straight. Because otherwise when you keep, it's like a knitting, you have a bad stitch or you drop a stitch and then you don t know it. And then everything you do after that gets progressively worse until the whole thing you were knitting gets like this. Kinda the same thing if we were to start drawing a fence here and this was not true vertical, over by the middle of your fencing be fallen down. But rather than just drawing sets of lines which you can do to practice all day long. It's sometimes fun to do to make us something. And so you can sit around and you can make slats and make them parallel and try to another good practice, try to make them exactly as far apart as you want to try to match these spaces is sometimes that control is really important. And sit here and Dr. fences while you watch TV. And then put little upside down, V is on the top. And you can draw a picket fence. If you're good. If you do drop picket fence is a good thing to put a horizontal line as a guideline. So all your little tops end up at the same place. Okay. So I want you to practice and practice and practice until making a line parallel to another line. It's just a piece of cake for you. And when you can do that, we can go back and we're going to apply that very same rule. To our little container because it has a little rim of hairnet, has a little base down here. Both of those, when you look at them, I represented by another line. And we know that the line has to be parallel to the edge, right? So what we're gonna do is this is going to be our line that we're paralleling. And you do the very same thing only this time you're not going in a straight line, but you are doing the same thing. You are watching this one while you're drawing this one and you're doing it with the lightest of little strokes. This is why I recommended three H pencil or for each pencil even in light pressure, you know, they're, they're hard leds and they will incise your paper which you don't want if you push hard on them. But if you just use them with a feather lightness, they're so good for this kind of thing because they erase really cleanly and they allow a lot of hunting without a lot of smearing. Okay, where else is this ram gonna be? It's gonna be back here because we're seeing the back of that circle as well. And I'm moving a little faster now, so don't be worried to death. There's that parallel line. And now I'm gonna go down here and put this basin and the base is like thicker. That's like twice as thick as that. So I'm going to say it's going to be I'm going to extend my hurt my side lines which are parallel by the way, about the thickness that I want that to be. And then I do the very same thing. I'm watching this line and I am drawing a line parallel to it. Okay, I'll get this little Ngugi off of here. And then much lighter in the back because you're seeing through the through the edge of the glass or plastic or whatever. So we're gonna put that into because you create, you can see that, but not as clearly as you can see it on the front. Is this was cleaned. We could see all that a lot better, but these are never cleaned for very long plastic lakes to be stained by watercolor. You might have noticed it on your plastic palettes. If you use watercolors, since doesn't like to come back off in its entirety. There. If we just get rid of a few little smudges, we have drawn a really good cylinder. Don't look like an amateur and all. And only because we knew what we were doing and what we were trying to do. 7. Drawing a Transparent Glass: And now we have all the necessary skills to casually draw Saunders. And we're going to start real, simply. Go with a glass that's transparent. I'm going to do something here that will add tunes as we go with our examples here, we're going to realize that when we make little alterations, we still have cylinder. So my, my oval at the top is kind of a little bit funky. And instead of putting that same oval at the bottom, I'm going to put a smaller one. And that's just roughed in at this moment. And I'm going to connect both ends of the ovals together. And we have a glass shape. Here's a plastic glass and I'm grabbing to be our model. Another glass for water in the studio here. And the rem at the top is very, very thin. So I'm not going to bother doing that part. I see that my oval right here is a little bit too high, so I'm going to adjust that and I'm relieved that Rem like it is. And I'm going to come down here and make that a little more perfect and leave that back one little lighter. And then this does have a substantial bottom to it here. And so this time, my lines that are going to define that are going to be a little bit longer. And then I am making this parallel line, watching that one. Wanting to echo it. Now this time I'm going to put water in my cylinder. And so I'm not going to show the confusion. This is our artists license, but the confusion of that rim in the back because it's going to make a mess down here and I don't want to mess and nobody's receives this is going to care. This is my glass. And this is the front. And we're seeing the front strongly. And this is the back and we're looking through the glass and not seeing it as strongly. Now I'm going to add to this, I'm going to put water in it. And how am I gonna do that? Water sits level, right? So we pour water in here. So it's glass down. The water is going to be parallel to that oval circle and to this one. And so what we have to do is add a, an oval, this kinda matching oval to the top. But it's gonna be less wide because it's not at the top. So you want to get in there and do that same thing about there. And again, the backside be a little lighter and the front side little darker. We'll come back and talk about putting a little indication that this is water inherent tube. Right now, we're just creating a few renditions, if you will, of our over what we learned. And so what do I want to put in here? I think I want to it's more than half full. It's a glass of optimism already read, but I think that it's gonna be this. And so there is an arc, which is a part of an oval, and it's a stem and there's a parallel line to the arc. And I'm gonna make a leaf up here with a couple of more arcs. I always refer to this as used as drawing with parentheses. And I tell you when you think of it that way, it makes it so easy. I took a set of parentheses here and I just push them together. And now I have a leaf and isn't that nice? And over here, I'm going to just put a little cup, another arc, part of a circle, part of an oval, and some more sets of parentheses to give myself some petals here. Kennedy won bus, I don't know what this flower is. It doesn't know what it is. I don't think, and it doesn't matter. Okay. And I'm even going to stick a little few of these guys. Yeah, if not a couple, a few. Now, I just turned really simple cylinder into kind of a fun drawing and we wanna go in and get rid of that line which won't show because of the leaf is blocking the backside balance rise. And when I do this, because I want it a little fatter on both sides here. And then we've got, we're going to erase the within the little blossom cup. We wouldn't see the stem lines. We have a drawing showing you put another leaf somewhere. It can't be in the water than always destroys your cut flowers. But maybe there is another one in here. Just balances things out. So still a cylinder. All we did was we shove the bottom in a little bit and made a smaller circle at the bottom. We kept everything else parallel though. These two lines are no longer parallel because now you're getting narrower at the bottom. 8. Drawing a Can of Soup: Alright, let's make a can of some kind of vegetables, okay? And now I am going to move along and be real casual about it. Now this is not gonna be transparent. And so what's the difference when it's not transparent? You won't see that. You won't see the back of your oval at the bottom. But until you just get really good at parallel line drawing, it's always good to put that in there anyway, so that you're aware of it. And it's gonna make, making this line down here easier on you. Also going to define the base of this and I'm going to tell you why that's important in just a minute here. If you want to go get a soup can to do that. But what I want to point out is if this is a can of something, anything that's on the label has to follow our same rules of paralleling the shape of a cylinder. And so if we're going to make a label, and that's what I'm gonna do it right now. I'm going to make a label and show you how we could put a word on the label. And it still all be in keeping with what it's supposed to be here. So if we have a label paste it, I'm not going to say that it goes from there to there. I'm going to say or does, and that's a background color. But what I'm interested in is if I have to have something going across those lines, have to parallel the top and the bottom curve. This is my parallel lines are so important and it's not only straight things. You gotta know how to do it on around things too. Okay, Now suppose that this is soup and you want to say it soup. Your lettering has to do this same kind of a dip and follow this same parallel line. So what we're going to do is form our letters to echo that same curved line top and bottom. And again, you're going to see I draw everything first in pencil. And then I dropped all my pencil, stuff like this because I am correcting when you're drawing with little tiny lines like this, What's happening is that you're, you are allowing your inner guidance to find the correct line. And I say inner guidance instead of inner critic. I don't believe in any inner critics are a lot of us have some problem with self-esteem. That's all true, especially in art, I guess. But that voice inside of you that says that's wrong. That's not a criticism, that's a guide your brain knows with some supposed to look like. You start to learn that with a, when you're a baby and the brain knows what a straight line is and the brain knows what a parallel set of lines are, what they look like. And with a can of soup looks like. And so if you're going along and you're doing it and something inside is saying that's not right. Say thank you and fix it because that is what the whole thing is about. And there's a whole industry built and convincing you that there's some little demon inside. Criticizing your own time. Really not a good thing to think. There's a can of soup. 9. Drawing An Ink Bottle: Let's take a look at this ink blot off, and let's look at it straight on. And when we do that, we see that it is actually a combination of two cylinders, one on the top of the other. It also has a little difference here and this cylinder has a neck. Okay? But otherwise, all of our rules are in place. We have a plane of a circle. We got another one for the top here, we've got another one down here. We have parallel lines on the sides. We have a label this time that I want you to see when I tip this so that we're seeing part of the top as an oval. We're also seeing this label taking on that curve that it has to be to be parallel to the sides. And I'm going to say that a different way. This side is a rectangle along one. This label, if laid flat, is a long narrow rectangle. It got wrapped around this rectangle. So it's parallel to this rectangle. So anything that this rectangle, that is the cylinder, the side plane of the cylinder, anything it does, whatever is parallel to, it is going to do. That is just a more elaborate explanation of what happened over on our soup can. And you see that the more we tilt that, the more of this curves and these curves and that curves. Okay? But right now what we're going to do is we're just going to combine two cylinders into one object. And so I'm going to start with the cap because that's the smaller cylinder. And we're going to build from there. So again, I'm still drawing this over with my whole arm even though it's kind of a little one and the cap is kind of a tall on here. Okay. And bottom of the cap looks like the top of the cap parallel to it and it has little ridges in it. I'm going to simplify that a little bit. But that's going to indicate that that is the cap. Again, parallel lines here. They're short ones so they're easier. And another thing, if that's easier is things look better if there are symmetrical. So in making these lines, it's a good approach to put that middle line in and divide it in half, and then put the same number of lines on each side. That way you don't end up with a little skinny, although in real life you'd have a little skinny section over here. This way doesn't look like it makes it all seem right. And so you put that middle line dividing this in half, and then you divide each of those halves in half. And then you divide each of those quarters in half and you end up with a nicely drawn cap. Alright, so our other, and I would ordinarily see, Let's draw this like this, but I'm not going to mess this up right now, but I am going to put a little bit of the neck in there because we're going to come out right from there. You can see this. Okay. It's got a nice little shoulder on a two, a neck and the shoulder. Alright, and this again, this is not something that your brain will easily do. So we're gonna get help with it. Your brain does not easily do symmetry. Because I don't know why exactly, but it seems to go back and forth and perception as like, you know, you've seen those drawings or it looks like a Victorian woman one way and I forget what vase I think the other way. It's tough for your brain and your eye to look at this right here, this shape, and come over here and make it the same, but make it opposite. Now, after practice, you can do that. But before practicing a lot, it's tough. And so we're going to grab our little piece of tracing paper one more time. And we're just going to grab that little line there just to help us out. And I'm pressing her this time so that it'll make a good impression. And I want to put it in about the same amount. See where the cap is. The neck comes down about the same amount from each side. So we're going to mimic that. And Good, right about there, one section it looks like, right? So since we did this symmetrically, kinda got ourselves in business here, we can just do one in from this side one and from that side. There we are. And now that's going to look right. And like I say, you learn to do this, your brain learns to do this after awhile though. So now what we have is the top of our cylinder. Cylinders. You have to do this often because cylinders have some rounded, rounded shoulders. Lot of them do. I'm just going to grab a weighed out thing here. Same construction, but not not a neck and shoulders. This is just got shoulders, but it has this little rounded curve at the top. And that is still a cylinder. This has got sharp edges. This one doesn't, it's got soft shoulders and you can just draw that out and you just put that in later. And we did this first because there is neck but I mean, you can do a bottle like this. You could do just a straight cylinder like our soup can and then just go back and just round off the top two corners a little bit. Okay, so here we are now and this is the top of our cylinder. So we are going to do this and put in the thing you can't see the back edge and then come down with two parallel lines. For borrowed as this is about, well, our neck is bigger, but this, this is about two of these proximately. And so I'm just going to fake that a little bit or I might just look at it so that is about an inch. And so if the body was about 2 " or so, that would be twice that and you'd have sort of the right proportion, proportions and other scary word that starts with a P. And at the bottom we have what I showed you on here. We have a little round shoulders. We don't have any neck, but we have a little round shoulders. So I'm gonna come down here like this. I'm going to put my bottom in like this. I know we can't see the back, but this just makes it easier to make the front correct? Isn't right over there. And then you're just going to come down and just round that bottom right there. Right? Now let's take another look at this. And let's put our label. And our label. I do have this out of proportion because this is a lot longer, but who cares? Because I get to do that if I want. Okay. We're not actually able to see this is all going to be black. But we are able to see this front edge and this label is darn close to it. I'm going to have this be the top of the label. Because if you look on here, Here's your little round shoulder, and here's the label already. Here's our little round shoulder in here is the label already. I might lift it just a little bit. I might just put it just to make this a little more matching to our, to our model. I'm just going to lift it with that is the top edge of the label which is parallel to that. And then down here, we're not going to see that back, so I'm gonna get rid of it. And the bottom of the label is down here and you can see it. See a little bit of the bottle after the end of the label. So I'm going to exaggerate that a little so it doesn't just look like a messy line. Alright, and I'm not going to bother with the whole branding here. I'm just going to say Inc. and to do that, I am going to put my just like my soup can, my lettering guidelines. And then I write. And we had a little glitch there because a phone call came in and that's where all the down sides of filming was your phone? So my eye, my n and my k. And I think I'm just I can't decide whether to leave it. The guidelines or not, but I think not. Just have the word ink on there. It's probably obvious, but it's a good thing, like if you have three letters that you didn't do it of course, but it's a good piece of advice. If you had three letters that you start with the one in the middle and then put one on the other side in. And it gives you a nice spacing kind of thing. If you had even number of letters, you can do that. But you like when we had soup, we would have put that blank space between the 0 and the u. We would put it right in the middle. And then two letters to one side of them to others, the other just another lettering trucks. So there is our ink bottle and that is a compound of two. So two cylinders, here's one. And even though it's got shoulders and neck doesn't matter, it's still one. And here's the smaller one that's sitting on here, screw down as the cat. 10. Compound Cylinders: I'm going to show you a much more complicated combination. I'm not going to take the time to draw it online because I'm just a habit here. And I'm going to point it out what it's made up for you. And it is this bottle, which I'm gonna see if I can back out here. You can see it all. I don't use swab hairspray, my goodness, but there's alcohol in here that I used for different processes in my painting. But anyway, here is a pretty complex set of cylinders. We have four of them here. And obviously one is the big body and one is the cap that screws on. So first, just like our ink bottle, but then there's another little cylinder that holds the fourth cylinder and place up here. And they each get a little bit smaller because this has to push down into this, so it has to be smaller. So I'll show you the pencil drawing of that smaller. Of course, what I did, I started with the long body part over here. I started with the cap. I pretty much knew I wasn't going to run out of room. If you want a long tall cylinder thing that you're dealing with, it's very disturbed with the longest part first, and I started far enough down that I knew I had room for the other three. There's a little shoulder on this too. It's a different one. It's one that is just a slanted line on each side. So after I did the long cylinder that holds the alcohol or hairspray or whatever. I did the cap this cap was like texture that is really close together those little lines. So I didn't bother with the spacing out. I just put the lines in as texture and it had little, little border thing at the bottom of the cap. And then this was a little cylinder that I drew in here. It's a little smaller than this one is sitting right on top of it. And I originally, if I were you, I would have drawn it over that line so I could tell that I had it in the right place and all. But as you get used to these things, you don't have to put the whole oval n all the time. If you can see it, then you can leave it as it is. And then this is the final little cylinder that's the push button deal with the hole in it so the spray can come out. So this whole thing is complicated, but the whole thing is nothing but for different sizes of cylinder. So that's easy enough, right? 11. Shading with Watercolor: We know by the, by the lines that we've drawn that this is a three-dimensional object. This can. And another indicator of that is shading and shading puzzles a lot of people, but it's really not that hard to figure out. Shading is about light reflecting from whatever plane it's shining on. So in the case of a box or something where it's a flat plane and a light is hitting it. It spreads out evenly. When it is not a flat plane than light does different things according to the shape that the plane is now in. So if we were to shine a, I like to think of I'm going to try and get a little smaller here for you. I like to think of light. Like I have a hose gun and I'm spraying water. And it's an easy, It makes it an easy way to think about it. And if it hits a flat surface and it spreads out, it spreads out pretty evenly. If it hits a curved surface, it's going to hit one part of it. Harder. I'm just going to use that analogy. Light isn't hard, but it's going to hit it more intensely and it's going to reflect more intensely. And as this shape, I'm just going to grab. Okay? Because we can see it here as this shape goes away. So does the reflection. Now the lighting in here is about the video on. It's not about me putting light on this object, but you can see right here what happens, okay? You chose your light source. This light source is coming from over here, but it's coming oddly because it's couple of lamps. Let me see if that didn't do as much good. Anyway. You see this line right here is where the light is hitting directly the hardest. Okay? And if I move this up, you'll see more of it. And as it falls away, it gets a little lighter, a little lighter and darker is darkest as it goes around the bend. And so that's the science of it in a nutshell. Painting yet, or coloring it is about you doing the same thing. It's about you choosing a direction the light's coming from. An i'm, I'm gonna choose that one. And then your lightest area will be where that light's going to hit flat on a little tiny bit of this plane because a plane isn't flat. And as it falls away in either direction, it's gonna get darker and darker to the edges. So I'm going to use watercolor to show you this, and I'm going to lift it to show you the highlights. And so this is a very easy way to do it. Other ways are to apply pencil and build up your tone. And you know that this is draw simple in this class, so we're not going into all of that. So I'll just show you the shading. I'm going to use the easiest way, and I'm going to use blue. I wish that I could lose the habit of saying I'm going to because it's irritating. It's hard to lose Abbott. And I know a lot of teachers do it because they're trying to put the steps in order as MI. But I am applying the paint all over the surface of my cylinder. And I haven't Santa Fe, I have to move kind of quickly because everything wants to dry in seconds here and I'm gonna get this as, even as I can. So going in a hurry, I'm going to be very sloppy. Non-intentional me just because I'm in a hurry. I'm not a big fan of sloppy in my work. I usually go over the top making it all right. But a lot of people like sloppy. So the point being here is to get an even, pretty even color all over that surface. And then come back and add the light number. I'm adding plain water with my brush in the area where the light is going to hit the most. Then I coming back with just a damp brush. Now I'm lifting that. There's a very short time that you can play with watercolor blending. As it starts to dry. There's a point at which you have to get out of dodge or you're going to make horrible marks. I'm just grabbing the opportunity here to do that. And then I don't have enough shade over here. So I'm going to go and add some dark color. Is darkest area. It's always a little bit darker towards the bottom to try to fix my line. Or that doesn't matter right now I'm getting into trouble territory if I keep messing with this, so I'm not going to I'm going to let it dry and then we'll talk about what happened here. 12. Shading, Shadow, and Transparency: My blue is now dry and although this is not the neatest paint job I've ever done, it does show you, in essence how to shade a cylinder that you're going to have the lightest area where your light's hitting and then it's going to wash away. Now, this can be a lot darker depending on and the color that you're using and so on. But this is our casual, our draw simple idea. And so where you go from there, it's up to you really know, if the light is coming from here, it's hitting the top at a pretty, at an even rate. I'm grabbing a little bit of gray here because the tin at the top is gray. And usually the corners of your oval will end up being darker than the middle. And it's because these edges kind of shade it a little bit. So that might be the way that you did the top. And then I'm probably crazy to try to do this with that still being wet. Should never paint wet watercolor next to wet watercolor. But we have things to get done here. The inner edge of this, which show and it would be reflecting its own light as a round. I don't want to get complicated here, but as a rim that's like a long skinny cylinder, they got bent around there. So it has a rounded, somewhat rounded surface. Anyway. There goes the shading of it. And then one more thing. I'm going to use, what I always use for shading, for shadows, which is a gray watercolor pencil and the water brush. And I'm going to back out just a little bit and use this pencil lead as a kind of a palette and put a little gray down here. Now what this should look like in your imagination is one of our ovals moved over underneath here. The light will come in. And this actually is, this is just the sitting shadow. If we were gonna do a cast shadow that went back, it would be going at a different level, different angle because of this light, but we're not doing that. What we're doing is basically it's called grounding a drawing, making it look like it's not just floating in the air. Now it's okay to be floating in there too. That's just another way of doing a spot illustration. But this way we can put a little dark right up by the cam, like sitting on the ground. Then the reason I use a watercolor brushes because I can make that edge fade and blend real easily that way. All right, so it's not like I say, a painting class or a painting lesson, but it is a way for you to color in your cylinder drawings with some idea of how the light would be affecting them. Good to add a little bit up here in this corner because this slight really be gone across that way. The other thing I'm inadvertently showing you that when you ink things and they're going to turn into that nice little bit of sloppy look of a sketch. Unless you're just really, really meticulous and I wasn't being meticulous. So you see what happened here? This is not, not perfect at all. It, this line should have been right here. But the ink pen made its own decision. And I'm going to live with it. Because that is just a casual drawing ink. It's very hard for ink to behave and you can't erase it. So when you're going to do ink sketching, you're just going to live with your mistakes pretty much unless you can fix them. All right, here we have a glass that is well, a glass that's transparent. So it's not a glass or model was plastic, but who's arguing about it, right? So I have a water brush hair and that's what I like to use for that same reason that I could smear the watercolor pencil. I can do that with a tiny bit of blue because all you're gonna do with transparency is edges. And then blend them out to nothing. Starting with the, we're starting with the glass itself and then we'll look at what we do with water inside of it. Again, the corners a little more shade than the rest of the top, but be careful don't pick up too much paint or you'll be in trouble. That right there is just so almost too much. And I'll make that back room kinda match up here. Then we go down this side. And the leaf is behind the glass. That's okay. Go over it. And there's a little bit indicated color alone under the rim here. And just like spread that out nowhere. Now we have our bottom. And the bottom is going to have a little more intensity because it's getting less light. But still it's not gonna be any solid kind of thing at all. And then are very bottom. This guy just at the sides, like we're in the very bottom like we did the top. Already know one more area which is the top of the water that has color. Although it's not usually totally blue, are totally gray or anything. It's like you can do this with gray too. I didn't have to be blue. But this part has water, this part doesn't. And so in a very, very subtle way, we are going to make this a little more intense. That wasn't subtle as it, but it will be. Okay. And that's not an even coating of anything either. It just should look a little bit different than where there is no water because you're just looking through more stuff. Basically. I got too much up here. Pick that back up as much as I can. Now, if you're painting the leaves and the stem here, it would be a little more of a color change. This Would, you could see the best of all because there's nothing in front of it. This there's plastic in front of it that we get a little bit lighter there. And under the water lightest of all, because all the water is in front of it. Okay. This leaf, it'd be a little lighter than this leaf because you're looking through something on it. Some people come back and add white, a couple of white highlights drives. I can try doing that. I'm going to try doing it with a chalk marker, but because our pain is still damp, you're probably not going to see it very much, but over dry paint, you can come back with an acrylic painter and white pencil or chalk marker and make just a couple of, indicate a couple of reflection lines here. And that's going to make your, your glass look more real. All right, Let's talk in our last lesson about what your project is going to be. And we'll be right back. 13. Your Class Project: These pictures which you saw in the introduction lesson, they look rough, are blown up like this because they're sketches for my sketch book. But I thought that it would be a good thing for one to give you a PDF of these to look at closely and work from and think about when you come up with your own drawings, you can copy them, of course, but it's always better if you come up with your own idea. If you do copy them, don't publish them or sell them. Um, because there are real art that's made from these. It's mine, it's under my copyright. Anyway, what I'm gonna do, I have these in Procreate and I have a page assist turned down, so we'll be able to go page by page. And I have made myself and obnoxious brush here. And I think I'll choose a color that's just as some noxious like a light green maybe. Let's see how that Yeah, that's pretty noxious. Okay. What am I going to do is I'm going to page through these. Just point out where the ovals are, the canisters. And this one looks pretty obvious, right? Because we have our title here. And there's one down here, of course it makes the bottom. And then this is our parallel top of our label and this is her bottom of our label. And inside we have liquid that'd be like the water in our glass. So this right here is also an oval. Then if you wanted to get the hang of how to draw this handle on this, this is also an oboe is only part of it that's showing, I don't want a little tight in there, but you get the idea There's part wouldn't be important to you. But that part would be to form the handle. This one has lots of it has two cylinders and lots of ovals. Let's start with the candle inside because it candle as this. And there's one down here as the bottom of the candle, right? And the jar has this one. And this one. Then there's water in here which has this one which draws around behind. And there's another one here, which is the glass as what we did on our drawing, has a glass bottom to it. So 123456, ovals and that one are ellipses. The pages don't turn when you're on page assist here. So I got to remember to push the button. Here we have our top and our bottom. We have another one here that is the top of the twisty part. And we have our parallel line along here. This is a real simple one. The bottom wasn't quite as simple because I had to go in and scale up for texture. But the first thing I did was I put that parallel line and so I could work from it. This one again is simple. A cylinder. A cylinder. This is like r or ink bottle on it with a real squat cab. And so we have our ray over top. We have our top of our jam. We have our bottom down here, we have the top of the top. And actually the bottom of that cylinder would be this rim here. Okay? I bet you're catching on real easily here. The kitty that's helping in the garden. This is a cylinder now, just like that transparent glass that redrew. The sides are slanted in a little bit. And this is sort of a cylinder on a cylinder. This one is its own here, the body of the pot. And then on top here, rehab one without kitty, sorry, that has its, on which that one's going to sit right on that line. This is really its own cylinder up here as well. Simple one, kitty with toilet paper or yeah, there we go. Then this is interesting because if you're doing paper towels or toilet paper or anything and some of its unfurled. What you need to do is you follow that same. Curve and this same curve as it comes off. And that's gonna give you a look like it's coming off of this cylinder and it's the same width, and so on. Well, you can't see it all here. I don't think. No. But we have a we have a cylinder up here. That's the cap doesn't happen to be on it. We have one here that I drew as a spiral. We have one here which is the top of this jar. And also there's one here and here. But all you're going to be putting is the parallel part because that's a glass jar. And we have an interesting thing here because we have this just like the water, but this isn't, It's lemon curd, so it's more lumpy. And that's why I made the line not a perfect oval. And we have this label here. And so we got our line there and line here. And then there's one at the bottom that's cut off. This vessel is straight on. And so for that reason, I remember I level we started out with it. If we're looking right at it, we don't see all those ovals. So this line, that's a design line. This is not the what's in the bottle. It was a part of a of a design of the bottle is a straight horizontal line and the bottom, the cap is as well. And the top of the cap is as well. And that's because we're looking right at this. At eye level. Here we have a pot with a rim. So again, really, we have two cylinders here. We have this one that is wrapped around. Actually this is one big rectangle or afternoon, but it's wrapped around and make it all one at the top. And its own kind of cylinder, kind of. Then down here we have the same thing going down, which you can't see it. It's another steel band like they do on containers like this. This time. Or I've got to turn this, can't really reach it. This is a cylinder as well. And so you just have to, when you look at something more complicated, you just have to look for the base shape of it. So this is our cylinder like we're used to, but the angle is given us pretty straight lines here because it is held far away from us. And it's also held pretty straight on. You could say that this is a cylinder to shape. Again, the garbage can is this is a cylinder. Which door? Because I've just done that 1 million times. What's interesting is that the top of the garbage can and has all these ovals in it. And it's because if you looked at that top straight on just like a can of soup, it would be a circle. But we're not looking at it straight. I'm looking at it at quite the angle. And so we're seeing all of the circle, circular lines on that tab go to ovals. And of course I will have to be parallel to each other because that relationship didn't change. Here we have a little cylinder within a cylinder. This is just a little sketch about using a clear paint can on top as a clean and dirty water travel Dish, robotic watercolor. So what's obvious here is this cylinder and the one in the middle and the water, which is another one that's a third cylinder that's going on there. Well, there's forth because the water in here is different. There are other cylinders here though. This, the Farallon is paintbrush is a cylinder, would look like that. And actually the whole handle other paintbrush is also a cylinder. It's just had a shape change just a little bit, just like we had to do for that class to make it bulge out and look like a paintbrush. So that run through, I hope is helpful. And in the resources section or the Project section, you can find a PDF to download to look and study these and draw over them or whatever if you want to print it out. If you want to draw over them in, in Procreate or something, then your project. So get comfortable and sit down with your pencil and your paper and think of little scenes and it'll still alive. So it'd be real boring just to draw 3123 cans. You only have to do one. But if you did more than one, you'd have more practice. But it would be boring to do just playing cans. And so think little still-life things to do. That'll make it more fun for you. Get out, you're coloring your colored pencils or your watercolors or whatever, and shade your drawings and upload them to the project section. And we'll all take a look and ask me if you have questions or you want feedback. And I'll do that as well. I hope you've enjoyed this class and I hope you feel a lot of comfort about going out into the world and finding cylinders and sketching them.