Drawing Masterclass - The Beginner Level Skills - Develop Your Drawing Skills From Zero to Confident

1. Introduction: [MUSIC] Hi, my name is Alexandra Gabor and I'm a professional art teacher with a master's degree in art education. In the last 10 years, I watched people from all age categories to learn to draw and also paint with all different kinds of mediums. In the last year, I spend my time researching the perfect methodology to teach very beginners art fundamentals. Through my teaching experience, I noticed that people have such a low self-esteem that they are not using what they already know because they are intimidated by all the other things that they could know and they think they're missing some superpowers. In this course, my mission is to show you that this is not true. You can create stunning artworks with simple lines and simple shapes and begin our shading. I already published a drawing course to take a very beginner from a single line to an appropriately drawing still life. I took all the feedback I got from that course and your favorite exercises and reviews and wishes and combined that with my research and created a comprehensive master class. I think the secret of learning anything is building up skills slowly. I divided the course into three levels. The beginner-level skills, the intermediate-level skills, and the advanced-level skills. In the beginner-level skills, we are going to explore the real essentials. This level will take a very beginner from nothing to something. [LAUGHTER] We are going to focus on exploring skills that you already have inside you, like drawing lines. You can draw lines and we're going to let these skills out. I will help you understand that you can do amazing artworks with just beginner-level skills and to understand the importance of doing art regularly and embracing what you can do and do it and learn loving, and respecting your art. You can think of it as a regular soul yoga. The course is ideal for absolute beginners in doing any art. For those who might already been painting, but still think they can't draw and ask questions in Facebook groups like, do you think I need to learn drawing if I want to learn painting? [LAUGHTER] Yes, you can't escape it. It will help you understand how to build up a painting. With planning the painting. It will help you with sketches. At the end of this class, you will be able to create a full illustration with clean linework, simple shading, linear perspective, and basic facial proportions. You will be able to apply all this in your future art. You will learn that you don't need any superpowers to do this. You can hold a pencil, so hold it and explore the beginner-level skills with me. [MUSIC] 2. Beginner Level Guide : [MUSIC] The reason we will focus on your inside is because your personal style, or so-called signature style, has roots inside you. If you learn over it, or think that the way you draw things or the way you love to draw things is wrong, then you will have a hard time to express yourself with things like for example three point perspective. Because you will know how to draw a building with a three point perspective. But will that be you? Will you have your signature style in that drawing. That's the question. In this first stage, I want you to recognize what's inside you to get comfortable with yourself and your relationship to drawing, and then gently adjust them to some rules. In this course, I will at first give you some insight to the tools you can use. For drawing we will start with drawing simple lines, do drills like this. Then we will do a sample as entangle exercise and as entangle mini project to apply our newly discovered lines. The point of this part is that you realize that you can create amazing artwork with just lines, without any shapes, any shading, or any color. Then we will learn how to draw shapes properly and that we can build up things from simple geometric shapes. This realization will be total game changer in your sketches. Let's stop here for a second. I am really fond of art therapy. I have studied it in Budapest. I wanted to implement it into this course so that you get an insight to how powerful art is. We will create a simple illustration of your house, and then we will analyze it, and learn some cool things about ourselves. Then we will move to creating forms from shapes. You will learn the reverse shading method and we will shade an apple, a pear, and a banana. If you are a painter, this exercise will help you to understand the build up of objects. Where to put highlights, where to put shadows, which you can apply in your painting as well. Then we will learn about linear perspective, practice the placement of objects in space. Then we will have a coffee break where I will explain you about the symbols in your hat. Lastly, we will draw the different parts of the face and then apply this knowledge to draw a random face. Sounds like a lot. Don't worry. These exercises I designed to be like 10 or 15 min so that you can really get into drawing regularly. The focus of this level is to get out creativity, to get over the fears of the blank page, the pencil and topics, and to dismiss the thoughts like I can't draw, I can't shade, I will never learn how to draw. You already know how to draw. You just need to draw. 3. Supplies : [MUSIC] Welcome. In this video, I would love to talk to you about the supplies you are going to use in this course. Yes, obviously you will need a pencil and paper and you can totally use them if you have any at home. But I would love to give you some recommendations which will give you a more pleasant workflow and results. Let's talk about the paper first. What I'm going to use is from Fabriano. It has 80 sheets and it has 110 grams. You can see it right here, which means that this paper is a little bit thicker than a simple office paper. Let me just show you right here. These are a little bit thicker. Let me just show you what is the real difference. It has a little texture and it can hold up a little bit of water so you can add some color to your illustrations and drawings with watercolors. Here's a simple office paper and I will just show you simple sketch with a freebie pencil of a circle with a little shading. This is just a rough sketch. That's cool. But now let's see how it works on this paper. It is so much better to work on it. It helps the graphite to enter the paper and it is a lot easier to create a nice effect with the same effort from your side. I understand now why is it good to have some quality supplies and it is not too expensive. Just take a look on the two different papers. This texture, it's so much nicer than this one. I can't have this texture on simple office paper. This is why I recommend to get a sketchbook. It is something like $10 for the 80 sheets. It is great because you have all your drawings in one place. In this course, we're going to fill this sketchbook with drawings. It will be a nice reference or nice portfolio, or you will see your progress for the course. It will be just a really nice evidence that you did in the course and a really nice memory for yourself in the future. Now let's talk pencils. My favorite brand for pencils is Cretacolor. It has reasonably priced and good quality. I'm sure you already know that there are some marks on the pencils with letters and numbers. You can find H and B. H stands for hard, B stands for black. Hard pencils leaves hard marks on the paper, black pencils leaves soft marks on the paper. I have a simple set here from the Cretacolor. Let me just show you really quickly what does it mean. Here are my pencils. I didn't find the 5B from the Cretacolor, but I have a Koh-i-Noor Hardtmuth pencil. Let me just talk a little bit about hardness. F is in the middle. Let's start with the hardest pencil. In the beginner level in this course, we are going to use black pencils because hard pencils leave hard mark on the paper. It is really four fine small lines so that you can really get use of the cross-hatching shading technique. It comes in different hardnesses, it does not the beginner-level supply. Let me just show you this is free. I mixed it up, doesn't matter. It is an age. As you can see, it starts to get smoother and smoother. This is an HB. This is a B. This is an F. I would say the F is in the middle of this range. The B starts with the B and then there is the 2B. Then there is the 3B, 4B. It gets extremely soft. This is a 5B, 6B, 7B. I don't have an 8B, but I have a 9B and it is totally black and soft and extreme shading tool. Here is another one. This is a shading pencil specifically for shading. I don't even know how soft it is, but this is just a Nero. As you can see, these numbers mean the hardness of the lead in the pencil. Let me just write it to you. H stands for hard and B stands for black. The number's how hard or how black the pencil is. For the beginner level. As we are going to learn the basic shading techniques, I would say go for the six or 7B for shading. Then for lines, two or 3B. For the intermediate, we will introduce the crosshatching technique so get some a bit harder pencils like three or 2H, for lines, for the crosshatching shading. But we are going to go and use these pencils as well. In the advanced, it will be totally up to you which pencils you like. What I recommend is to get pencils that from any brand, it can be Koh-i-Noor it can be Cretacolor or any brand you can buy. You will be good to go with the 2B, 3B, and the 6B, 7B and get some hard pencils as well to try out the crosshatching shading techniques. Maybe for line work, it will be more comfortable for you to use an H or hard pencil. Let me talk a second about what pencils that are upstairs. This is an artist pencil set. There are so many different pencils here. But let me just see, this is sepia drawing. I'll just show you what it does. It is a really nice for still lines and shading a diagram. This is a charcoal. We're not going to draw with them. It is not necessary to buy a set like this. This is like sanguine smooth. This is more creamy. This is water-soluble. This is a 4B pencil. Then here is a black drawing. This is so black. But you can see I can smudge it. It is not the best for a sketchbook. Again, some different, black smooth. This is for liner, sepia drawing dark. There is a white pencil for highlights. You will not see it, but it works pretty well with these our sketching pencils. Now I have another one Cretacolors but we don't have really great pencils for shading. I am going to use these ones because I really like them. Here's some other things you could use. But we're not going to use those things for shading. This is good to cover big surfaces if you need to shade them and you don't want that pencil texture within it. But this is I think an advanced supply [NOISE]. We will get back to this on those levels. What else? Yes. We are going to use micron pens. Micron pen is really good for line work. It has a 0.3. There is a 0.1 and 0.5. If you want to try them out, it does a really good for crosshatching shading and to create some inky effect. I'm going to use this a lot. There is another tool called the blender, which is I'm just going to show you. This is rather for advanced levels, but you can like [inaudible] graphite. It is like the smudge tool in Photoshop or Procreate, if you know those programs. This is a smudge tool. You can do this or create this from simple paper so you don't really need to buy it. But it is again nice tool to have. You will need an eraser and a sharpener. Let me just show you the sharpener. I love to use these cups. I have them usually when I'm drawing so they are just really useful. [MUSIC] To sum up, what you will need. You will need a sketchbook and you will need pencils. I recommend to get a set of pencils with different range of hardness and blackness and make sure you have 3B, 2B, and at least a 6B in your set. Then you will need an eraser, micron pen, and a sharpener. That's all for the supplies. Let's start drawing. 4. Drawing Lines - Part 1.: [MUSIC] Welcome to this first drawing exercise. This video is dedicated to drawing lines. If you don't have any experience in drawing or you didn't draw for decades, this is the exercise you need to do. We are going to draw simple lines. It is not going to be demanding, but you will get control over your pencil when we arrive at the end of this practice. What you need is the pencil that you dedicate to drawing lines. This means it's a 2B or a 3B pencil if you have it. If you don't have you can do this exercise with any pencil you have. What I did is I prepared six squares. Not exactly squares, but that's okay. We're going to fill them with lines. In this first square, we're going to draw straight lines. Notice how I'm holding my hand. I'm going to fix my wrist on the desk because it will give my hand stability. I'm holding my pencil not at the tip, not too far, but close to the tip so that I can control it. I'm going to control the pencil from the top to the bottom using my fingers and slightly bending my hand. This is what I'm doing, I'm drawing a straight line. While I was drawing the straight line, I was constantly focusing on the line here which I have drawn with a ruler. This is the exercise where you can use a ruler to create the squares, it is a great reference line. The next line, I'm again following the previous line. If you can see I'm not drawing too slow because it gives instability to my line, and not too quickly because then I will just not control the line. But trying to find the middle pace and find a position for your hand that is comfortable. You don't need to worry about the lines because this is just a practice activity, so we're just simply going to fill the square. If you noticed, I flipped a pencil several times because as I'm drawing, the lead is getting thinner and thinner. I want to make sure that the lead is not flat. If I'm flipping my pencil constantly, it assures that I'm drawing with another side and it will help my pencil to stay in a good shape for longer time. If you don't flip it, your pencil will get flat at one side and your line will not be nice. [NOISE] This is a good exercise to do even if you have experience in drawing. As you can see, I just got my lines better until the end of it. It is a good warm-up before you start a piece. In this next square, let's draw horizontal lines. If you see, I'm starting at the side holding my pencil. I'm not going to draw like this because it is unstable for my hand. This comes with experience and it does not show that this position will be good for you, but this is what works for me. I hold again my pencil like this giving it a bit stability with my fingers below it. I'm fixing my wrist again and I'm going to move my wrist around like this. Yes, I have a curve there but doesn't really matter. Try to, again, get your lines as straight as possible. Flip the pencil and draw vertical lines. This exercise is good so that you get comfortable with different angles and you know which hand position will give you stability while you are drawing. [NOISE] You can experiment with the position of your hand as well. Let me just draw it like this. Oh, that's not good. [LAUGHTER] Make this a fun exercise. This is absolutely not serious. You see when I moved my wrist like this, I cannot control the line that much. I need stable point for my hand, my hand is constantly on the desk and my wrist as well. Great. Now we have a vertical and horizon lines. Let's move on to the third one. We are going to draw diagonal lines, so this is a different position again, but we are going to play with pressure. Let's do it like this. Let's make 1,2,3,4 lines with normal pressure and then press hard, 1,2,3,4. Now again, don't press it too much. One, two, three, four. Again, I'm starting at the top to the bottom. It is more comfortable for me, but I can vary. Now I'm going to start at the bottom, 1,2,3,4. Again, I'm pressing harder. Flip your pencil, don't forget it. [NOISE] Two, oh yes. I got the [inaudible] instability because my hand got off the sketchbook, but doesn't matter. One, two, three, four. Now press harder, one. [LAUGHTER] I have so wavy lines. This is because of my instability. Lets just find an angle that is as more stable, down the ruche. [NOISE] Okay, great. Now we exercised variation within your pencil. You can have thicker lines if you press harder. You can have all smaller lines or thinner lines if you press less, there is a rhythm, yes, line weight. My pencil got dull, so I'm going to sharpen it. 5. Drawing Lines - Part 2.: Great. Now we are going to do different kinds of lines. What I thought of, is creating wavy lines and we are going to practice curves from different angles. In this first one, just simply draw a simple wavy line and follow this reference line with your second one. You can apply the pressure again. In this fifth, we are going to do the same but with zigzag lines and we're going to try to change the position of our hands frequently. Let's get comfortable with that. See, I'm doing this line, my pencil is fixed here and I'm doing this line, my pencil is fixed here. Just see the position of my hand. You can do it like this as well. That you have constantly fixed on one place. But this is more fun and more of the puzzle control exercise. Try to play with those angles as well. What feels comfortable for you? This is an exploration, drawing and doing art as exploring what is good for you, how you like to express yourself. It is just such a great thing. Let's move on to the last one where we are going to create curves like this and again changing the position of our pencil a lot. I'm going to do curves like this. You can still vary with pressure. Just exercise that thing. Let's say we are going to do two rows of these curves. Now let's do it on the other side. This is already a surface pattern design. [LAUGHTER] But anyways, it's just so great to practice this thing because you don't really realize that and maybe it works for one person and it might work for you as well like this changing of the pencil position and things like that or varying the pressure control. Maybe you have never thought about that. Maybe your hand will get tired by this, lots of drawing done. Just get a rest, go drink some tea or coffee or something. Great. I like that one. That will look good on a kid's clothing or something. We are at the end of this drawing lines practice exercise. I hope you enjoyed it and that your hand is not too tired. You can just do some exercises but that is so well, it is so good. We practiced to use reference lines to draw from the top to the bottom, to draw straight lines, find the perfect pace, so not too slow, not too fast. We changed the position of our hands. We played with diagonal lines and the rhythm and the pressure. We learned a lot of pencil control by drawing all these curvy lines. We played again with changing the position of the pencil and we exercised drawing curves. I think this is an extensive exercise. You can now go do something else because you will get burned out of these lots of lines. Let's move on to the next exercise in the next video. [MUSIC] 6. Zentangle Exercise: [MUSIC] Let's just move on to the next exercise. We are going to still deal with lines. I'm just going to show you what Zentangle is. This is a really great practice to warm up, to get comfortable with the space because mostly beginners tend to draw, mainly kids, of course, tend to draw to some places of focusing on one places on the paper. Let's say if I would ask you to draw your family, maybe you would draw it, and starts to draw it here. You will have your drawing here and you will have an empty space around the paper. Zentangle exercise, it is called like this. Helps you to explore the space and not be afraid of the paper, because we are going to draw around it. We're going to draw one really long line. I asked you not to pick up your pencil from the paper. Just draw smoothly. We are going to draw different curves around the paper, so why just start somewhere? You can play with pressure again, so push and take it on, push. You can cross this line just to make sure you're not making too small shapes, and let's say connected. Now we have all different shapes around. This is an exercise really based on accidents. There isn't a good way to do this and there isn't a bad thing to do this. We're going to fill these shapes with the lines we created in the previous exercise. This is meditative. In the coffee break we are going to have in this class, I will explain you what benefits doing art haves. I will not go into details right now, but it helps you to stay in the present. In this world, we have now that everyone is constantly running and looking in mobile phones and constantly digesting and receiving information. We are constantly not here. I don't know how you will read it, but my brain starts to hurt [LAUGHTER] some time and I really need to relax. This exercise is really great for relaxation. You can do this in indefinite shapes. For example, you draw a shape of a cat head and you draw these lines within that shape of a cat head, and now you have a Zentangle cat head if that makes sense. But that's just a way to make it a bit more fun because this is supposed to be fun. This is similar to doodling. When you are drawing shapes. Actually, I am drawing shapes right now, but we are not yet at the shapes. I don't want you to draw triangles and circles. Of course, you can because doing art is free and if you want, you can just fill a shape with circles. I will do that, because why not? I can play around, but I would love to focus on lines more. I will fill every shape [MUSIC] with some lines [MUSIC]. Great [LAUGHTER]. What is fun with this exercise is that you can find different objects [LAUGHTER] within your artwork. I guess here is one. Or what is it? It can be duck or something like that. This exercise is really great even for kids, but for beginners as well. You can level this up to create some really nice artwork, [MUSIC] but this is again, just a practice, so let's just move on to the next exercise. [MUSIC] 7. Zentangle Mini Project: [MUSIC] So what I thought of is to create a Zen Tango mini project. So let's just create our first real artwork using bleach already know. So what do we know is how to draw a lines, to explore the space, to feel shapes with our lines. Let's say this wasn't an introductory exercise and this mini project we are going to do on the next page is like optional. Let me just show you on Pinterest what things we can do with Zen tangle. As you can see there are wonderful artworks created with this method and they are simply just simple shapes filled with different patterns. What I'm going to do is to draw a feather because I think it is an easy one and feel those shapes with some patterns which are created by lines. That's what we aren't going to do. What I'm going to do now is to go all through these images, find five patterns with lines that I like and then fill the feather with that. I don't want it to be too big because it has a really detailed work. I will create a simple rectangle for this project. I'm going to swatch. I will just draw five little swatches because we can call this swatching. This is going to be a great project for the introduction of this shapes because that's our next topic in this course. [MUSIC] At first I'm going to fill this with those patterns. So our feather is going to have a stand as if it was a leaf, so draw a line like this and another one. So there is a shape and then create something like this and another one as if it was like really a leaf, it has like pointy edges. It looks a little bit like a leaf rather, but we will add some things like these spirals to make it look a bit more feathery. You can do this all with your pencil. Not the most perfect, but it will be all right. Now I will take my micron pen and apply these. It is totally free so you can totally vary these patterns. This is just like trying out some swatches and for you to see that it can work like this as well. I will start with a top shape and let's say I will make it full of simple lines like you can apply the lines we did at the previous project as well. Great. What is good about micon pens that you can erase your lines with the pencil afterwards and it will not be seen. It is so great. I'm just going to create a stem like this. I will fill it with simple vertical lines that are close to each other so that it is dark. You can see we can worry the effect of darkness and lightness with regularity of our lines as well. This is what crosshatching shading is based on. This is a good exercise actually for that as well and actually any practice activity you do is good because you will just get better and better in it. Doing art is a lifelong journey. It is similar to yoga, I think. If you start yoga like seriously not just on side action as a side action, you will be addicted to. This is the stem. I will just start here, so I will have three simple lines and then a darker line. I have three single lines, then a thicker line. I'll show you what I'm doing. You can just check out Pinterest, there's so many ideas for this. They're all different patterns. You know what? My tip here is to choose one pattern and apply it randomly rather than following because when you're drawing one pattern, you would get comfortable with it, drawing it and it will be easier to apply it. Your work will be quicker and less demanding so you don't need to think about what should I draw here? Where should I draw with it? You are filling just spaces. This is why this entangle is so great. I'm going to speed up some of these parts so that this video is not too long and boring because what I'm going to do is just to fill these shapes with these patterns made of lines and create a nice design which could look pretty well as tattoo, mostly. [MUSIC] Okay amazing, so what do you think? I think it is an amazing technique to practice lines [inaudible] variation within the lines to practice the angles, how you hold a pencil. You can create amazing artworks by taking a complex thing, breaking it down into simple shapes, and filling them with these patterns and you can bring this to a whole new level of design if you go for that one. But that is not our point in this course, so we are going to move on. We already created some shapes within this artwork and our focus will be shapes in the next videos. 8. Drawing Shapes : [MUSIC] In this second part, we are going to deal with drawing shapes. What does drawing shapes mean? What are shapes? Shapes are created by lines. If we close a line, we have a shape. Now we have organic shapes like this one and we have geometric shapes. We have the triangle, deal with rectangles, circle, etc. Drawing simple shapes are like the most essential building blocks of drawing anything. When we are going to draw for example a pair, we are going to start with drawing two circles and connecting them and now we have a pair. Every complex form or object or anything you can think of is build up of shapes and we will need geometric shapes to be more precise when we're deciding how to draw an object. In the example of the pair, we need to know how to draw two circles so that we can get the outlines and contour lines of this object right. Knowing the geometric shapes, let me just draw them here, it is important when we are measuring proportions, we are doing perspective drawing, when we are entering the dimensions, etc. You might have noticed that artists are not drawing shapes with single lines. Cannot be precise in drawing one line. As we are looking for shapes of objects, we need to be careful how we draw shapes. Let's see. We are not going to draw a square like this, but as we did with the lines, we try to draw these shapes with short controlled lines. You can get them more precise if you play with the angles of your hand and a pencil and use short lines to get those shapes great or appropriate. Let's see the triangle. We are not going to draw a triangle like this but we have an angled line, a horizontal line. We have an angled line again. It does not wrong if you redraw something several times to get it right, we have an eraser. You can see that most of the artists start drawing a shape with really light lines and short lines. When they find the right directions, angles, etc, they are making these lines darker. Let's see the circle. I'm not going to draw the circle like this, but try to find the perfect angle of it. You see, this is with light lines and now I'm going to darken it to get it more precise. Now your task is to try this exercise. Draw a rectangle, a triangle, and a circle, and try to get them right by positioning the pencil to different angles, drawing thin lines then darkening it when you get the shapes right. Let's move on to the next video after you are done with this exercise to see what we can build from these shapes. 9. Simple Shapes in Practice: [MUSIC] I'm just going to show you something,]. This is an artwork I've done lately. This is done with watercolors. It is amazing. It looks really great. I just took this off the wall. How have I done this? Does it require complex drawing abilities? These are just simple shapes and you can see them. So there is an oval. There is a circle. There is an oval again and now I'm realizing I could've painted as pattern but doesn't really matter. These are lines. These are simple lines for decoration. This is one-point perspective we are going to learn about. This is a hidden city in this hole. The city is built up of simple rectangles, and triangles, and simple curves like does that we already did. You can create things like this and even butter things just with lines and color. This is a drawing course so we are not going to implement color theory and stuff like that. I have courses on data as well if you want to check out my watercolor painting courses. Let's focus on using these shapes to build something. Your task in this part is to draw your house. This might sound fun. I'm going to do it on a different sheet of paper. But what is a house? You don't need to go into the space. So we're not going to draw in dimension as you saw. Stylization is totally okay if you want to create art. So something simple. We're going to have an interesting discussion afterwards, you are done with it. I have studied art therapy and I'm just going to share you some secrets, what you draw, what does it mean. You don't need to take this seriously, but it is simple, just interesting. So go back to your primary school's drawing abilities. If you are more advanced, you can draw more advanced, but this is not the point in this exercise. But you can build up things with simple geometric shapes. You can go wild with it. You can be really creative. I usually draw a house with a fence. I will do my real drawing and I'm just showing you what you can do. I love to draw trees. You can do bushes, et cetera. My point is now to build up a stylized drawing from geometric shapes and this is going to be your exercise. Now, let's meet in the next video where I'm going to analyze my own drawing. [MUSIC] I'm done with this catch and I can't resist to add some color. So what I'm going to use is a watercolor pencil and brush called water brush, which is just great because this papers are thick but not as thick as watercolor paper. So if I want to add color, we don't want color pencil. I just want a little bit of water, so not to over wet my paper. I can just wet it and et cetera. So what I'm going to do is right now to enjoy this sketch a little bit and fill it with color. [MUSIC] 10. Art Therapy Fun: [MUSIC] In this video we are going to have only the art therapy fun. We're not going to be too serious about it. It is just a little insight why drawing and expressing yourself is important. On the journey of doing art, you will learn a lot about yourself. By now you already know you can build simple illustrations from only lines. Your task was to draw a house. I had a little fun with this one, and this is not my best work at all but it was relaxing, and actually, I learned a lot about my state of mind. [LAUGHTER] There is a psychoanalytic test called house-tree-person, you can google it. Where you need to draw a house, a tree, and a person. I didn't ask you for the lines to the house, and the tree as optional because I really don't want to go deep into psychoanalysis. This is just a rough idea how this work. The house represents your home. I want to emphasize that the analysis is clearly subjective, so if you don't identify yourself with something, it might not apply to you. The house should be drawn at normal size. If it is too small, you might have little family life, might feel disconnected to it, or you are far away from it. If it is too big, your family might overwhelm you. The walls of the house represent boundaries, and strength of the ego. Too harsh emphasized lines, bricks might mean a really strong ego. Doors and windows represent the relation of the person with the outside world. Even pathways means accessibility, they are always to enter the house. They relate to openness, willingness to interact with others. Think about them as windows to the soul, or doors to the mind. Open the windows might mean the desire to connect with people. Curtains might mean that the unwillingness to reveal much about the self. The roof is the intellectual side of a person, it is associated with fantasy as well. Every detail in addition to the house means care so that you care for your imagination, creativity, and fantasy world or dreams. If you don't have too many details, you might not care about that too much. As you can see, I have lots of details, I even have a chimney. Yes, fantasy world, my dreams are really important to me. Actually, this is a hobbit house. I plan to have a house with a green rooftop. For example, if you have a chimney, it represents the coziness of the family life mainly if there was smoke, it means that the fireplace is on. If it is not on, so there is no smoke, it could mean that there isn't coziness going on at home. All these things can change by time, and life phases, even in some parts of the week. The missing smoke can mean it is a workweek, so the families isn't chimney-bounded home on those days. Vehicles could be signs of visitors coming, or people leaving the home. I don't have any. A fence can mean defending family life, keeping it together. As you can see, my fence isn't in front of the doors, so my door is open and not to everyone, but I don't keep everyone outside. [LAUGHTER] You can come in, but you can see I have a fence, so I defend my ego [LAUGHTER] Because the tree is an ego as well, we will get to that in a second. The trunk of the tree is seen to represent the ego, the trunk itself. It's the sense of the self. If it is small, you might be a little confident about yourself. If it is too big, your ego might be too big. I think because I have the fence, I'm defending myself a lot, and that is actually really true. The branches are the efforts to reach out. If you have leaves, they might mean that the efforts to reach out are successful. If the leaves are detached from the branches, which mine are not, I'm not sure if those leaves are on the branches or are a little bit transparent, it might mean that the nurturing we got is not really predictable. Roots are what connect the tree, and people to the ground or reality. No roots may mean insecurity and no feeling of being grounded. It is true again for me, I don't really have roots, and sometimes I live just in my bubble, defending myself and being unrealistic [LAUGHTER] What do you say? Did you learn something about yourself today? You can google some more interpretations. I don't have any persons on my picture, you might have some. Just google some other analysis of those things, and you might learn a lot about yourself. It is such an interesting thing that with a simple drawing like this, how much you say about yourself. I'm always amazed about art and its power. Remember, know what relates to you, and don't overthink this, it just needs to stay fun. We arrive to the most basic skills. We now know how to draw lines, we know how to draw shapes, we know how to build up an image from simple lines and shapes, and we know that drawing and doing art is like an exercise to the soul. Now let's move on and let's create forums from our shapes. [MUSIC] 11. Shapes to Forms: [MUSIC] In this video, I'm going to explain you what is valued and what our forms. So let's just start with what is a form. Now we know that we have lines, and then we have shapes, and then we have forms. Forms have dimensions, and how we make forms. We make forums with shading. I'm going to add a little shading to this circle and create a sphere from it. So this is a line, this is a shape, this is a form. Now let's introduce the word value. Value, is the intensity of color, let's say. But as we don't have coloring graphite, we are talking about greyscale, which is the intensity of light, let's say. In beginner shading, we're going to talk about free values or tones we can call free values. So we have a highlight, then we have a mid tone, and then we have the shadow. Now, what I mean by this highlight is the lightest part in a form, so that's where the light hits the subject. That is, the highlight. As a drawing with pencils is transparent, so we are working with transparency and we are not really drawing white. We need to keep the white of the paper as the white of the highlight. Similarly as want to colors. So we want to leave the highlight white, and my shading method for a beginner level is called reverse shading method. This means that I start with the darkest part so that I know how dark can I draw, within my pencil because as you saw at the beginning, not every pencil is seemingly dark. We are using for shading the six or seven B pencils, but you can share it actually with the two or three B or you can shade with a hard pencil as well if we are talking about mainly crosshatching shading. But my point here is to find the darkest part of the shadow and draw it like this. Then we leave the highlight and simply go through the meter. Don't push your pencil that much, and this gives us the mid-range [inaudible] well used. This is what I do only when I'm shading in a beginner level and our intermediate level, because this has just enough. I will show you this in a second. There are two more values. I will just draw them here. So there is the meet, value between these two, this is that a little bit darker than this one, a little bit lighter than this one. Let's make it like this, and this is lighter than this one, darker than then this one. In this beginner level, we are going to use only these three tones. Now you can see that I have created a shadow beneath my object, the sphere, and this is called cast shadow. I actually usually about the cast shadow, we have a reflection of the object. But we don't need to care about that right now. [MUSIC] In the next video, we're going to shade and create some forms from the geometric shapes. So let's just get into that. [MUSIC] 12. Shading Basic Geometric Shapes: [MUSIC] Let's just make some forms. Let's start with the circle. From circle, you will make a sphere. How we are going to do that? Simply just try to draw a circle with short lines to find that shape. Now, when you are drawing, the first thing you need to think of is what is your light source and where is it. We are going to have a light source here. It is not going to be a harsh light, so we are going to go soft with the cast shadow. But let's just draw the shapes of the highlights and the shadows because this is the process I'm following when I'm shading. As my light source is going to hit my object here, I will have a circle here as my highlight. We have the shadow at the opposite side of the object. Usually, it is shaped like this. It is not a rule. But it is not like a dot, but it is a bigger part. This is going to be the darkest part of our circle. Now we are going to have a cast shadow, and as my light is coming from this side, we will have a cast shadow here. Please draw this right now and then change your pencil. I don't know if you can see this. I have drawn this with a 3B pencil because that is what I am recommending for lines. Now get a 7B or a 6B pencil. This is my 6B pencil. Let's shade. We are going to start simply with the shadow and simply just fill it in. Fill in the shape we have drawn for the shadow. Now, when we have it, we will fill the remaining part apart from the highlight with the midtone. What is the trick here that you can soften this edge and make it more smoother? Actually, by this, you are creating a bit of these values. You can soften the edge of the shadow by going over it slightly with the pencil. You can use the eraser to erase around your highlight a little bit and lighten it then you will have a nicer highlight, not a real shape. It looks nice. But it will be more realistic if we draw the cast shadow as well and then just simply filling in the shape. It can be a bit darker. This looks just great. Let's move on to the next one. We have a triangle and we are going to make a cylinder from it if I'm right. I'm not sure this is called the cylinder, but let's just keep it there. I will correct it in the video editing. Now we have a triangle, but if a triangle is in dimension, this part is not going to be straight, but it will have a little bit of a curve. Let's say our light source is here again, so we now have a whole surface like this to be light. I'm going to draw this as my highlight. This is going to be the shadow. This is going to be the midtone. Let's say we have a cast shadow like this. I didn't use this 3B before. Anyways, it doesn't matter. I'm simply filling in the shadow, keeping the highlight, and just going with the midtone and softening this edge by going over it again a little bit. I will use my eraser again to go through this part. You can even lighten the outline you had. It is a usual thing not to emphasize the outlines where it is hit by the light. Now I am again filling in the cast shadow. Wonderful. Let's move on to the cube. If we have a rectangle, we will create a form from it which is called a cube. But here we need to change a little bit with our drawing. Now I'm drawing a rectangle. If you remember your math class or geometric class, I don't know how you had it in school, you will need to find a 45-degree angle, draw it from these three points to an even distance and connect them like this. It doesn't matter if it is not too precise. This is just exercise. Let's say our light source is here again. What this will do is that this part of my cube will be in highlight. This is going to be in highlight and this is going to be a midtone. This whole part of the cube will be in shadow. I will fill in the midtone. Next shadow, this is going to be a lot wider in this part. Actually, it depends on where the light really hits the cube, but it doesn't matter. I'm going to do the softening at this part. The cube has these edges. I don't want to get rid of them. I just want this to have a little bit of gradation into darkness. I'm going to widen this part. It will have a cast shadow as well. Let's say like this. As you can see, we have lines, we make shapes from the lines, and we make forms from the shapes with adding shading, which has values, which is highlight, midtone, and shadow. With the reverse shading method, we are filling in the shadow, then the midtone, then try to soften this, then we add cast shadow and we have amazing forms. Wow, this exercise was really great. Let's do this with a real object. Let's talk a little bit about observation in the next video. [MUSIC] 13. Value Practice: [MUSIC] Before we start shading, I would love to do some pencil control exercises with you. I would love to ask you to draw a rectangle like this and start filling in this shape really lightly, and try to push harder, and harder, and harder so to have gradation. Let's do it again. I'll try really lightly and now darken, and darken, and darken. Let's try this way as well. Let's leave a little whitespace here and just start. Notice that I'm drawing now with the side of the lead not to tip, but the side. When we are shading, we're using side of the lead. Now fill the whole shape with this lightness. We're going to layer the second layer here, and then a third one and from the [inaudible]. Then again here, and always push a little bit more harder. We tried to build up this gradation. Let's try it again. Lightly fill the whole shape. Now from leaving got a little space, push a little harder. This one is nicer, because it is more consistent, so I just do that again. Let's start pushing it harder. Great. Let's do the last one like this. If you can see my lead just got flat in this side, now it is good for drawing lines because it is sharp. But when you are shading, keep a piece of paper to dull it a little bit and it will give you a nicer shadings. I'm going to dull a little bit and now I'm going to again, lightly push darker, and darker, and darker, and darker. Now we have some exercises. Let's get into shading. [MUSIC] 14. Drawing the Pear: [MUSIC] The next step is to draw the pear, apple, banana project that we are going to draw these fruits, and observe the shadows and the shape of the shadows and highlights to practice a little bit more. What I've done is I went through Google and this is how I'm going to give credit to these images. This is how I found this image. This is going to be the reference image. I've chosen this because if you can see the light is coming from this side, here was the shadow. The next one is an apple, here it is. Where is this light source coming from, or where's their light source? It's up here, as you can see, the apple is highlighted up here, and everything is going into darkness in an evenly. Here is a little bit of cast shadow, which means that there's a big light above this apple. The next one is a banana, where the light is coming from this side and it has this sharp edge and sharp shadow in it. We are going to draw ideas. Let me just talk a second about why observation is important. I will talk about this a bit more deeply at the coffee break at the end of this beginner part, you know that feeling when you sit down and you'll want to draw, and you just draw something from your head as I did with these forms. I've drawn these like 100 times, so I really know how they look like and I wasn't doing them by observation, I was drawing them on the basis of what I know. Leveling up your drawing skills is not about drawing what you know, but rather to learn to draw what you see. Yes, you need to express yourself and learn this stuff, but you should always rely on your eye a little bit more. If you want to draw a pear, it is totally fine to go online and a check an image, where are the shadows? Or take a real pear in front of you and observe the shadows. What I'm going to do now is to sketch out the counter lines of this pear. I'm not going to be too precise about it because this is just a practice activity, but I would love to start to show you that this complex organic images are built up of geometric images. We're going to learn about this a bit later. But if you can see there is a circle and there is another circle in this pear. I will draw a big circle approximately here and another circle here. I'm going to use these two circles as a reference when I'm sketching out this pear. I'm going to start at the top and use short lines to find the right shape. Here is a bigger buckle. This is a bit irregular. Like this.There is the big hill. I'm going to erase this from the inside of the pear so that it doesn't confuse you. Not perfect. Just a tip, always look at your paper from the front. If I have something distorted it is because I'm drawing in an angle so that you can see what I'm drawing. But anyways, here is this stem or how's it called? Here is a little something. I will just take this up here. Here is a leaf just to make it the sense of being on. I'm just going around checking the shape of my pear. Not perfect, but anyways, we are now going to observe the shape of the shadows. This is going to be the shape of the shadow. This is our highlight and everything around this is the midtone. Let's start at first with the highlights. I have a highlight here, I have a highlight here, and my shadow starts here because this is in shadow as well. Starts here. There is a little bit something like this and this is in a big shadow. Now I have my pear, I have the highlights, the shadows, and let's see what we create from it. I'll take the shading pencil. What I'm going to do is simply go over the whole. As you can see when I'm shading, I'm not holding the pencil at the lead, but a little bit further away so that I can make bigger movements. Another thing, I'm not shading with the tip of the lead, but as I'm bending it, I'm shading with the side of it. Great, I'm going to shade this as well. You might say it does as well, this leaf has a highlight as well, I'm going to use that. Make sure to sharpen your pencil when you need it. I'll only do that right now. Now let's go for the midtones and I'm going to erase the highlights from it. This is going to be the best way, I think right now. I'm just filling in the pear. As you can see, everything is too sharp. Let's start with the highlights. I'm going to make it a little bit lighter here and soften these. Why do you say, now I can see that the shape of the pear is really not the best. But anyhow, this is a pear. I'm really curious how your tuned out following this method. Please don't forget to share that with us. [MUSIC] You can just play around, you can erase this as well. Let me go with a smoother. Let's move on to the apple. Just a little side note here. There is white tonal range within the shadow and the midtone and also texture. In the beginner level of shading, we don't care about them so that you can focus on observing contour lines and the basic shapes of the shadows and highlights. This will help you to build up the complex observational skill, and process that you can apply later on. We will expand this process in the intermediate level. Now keep calm and use and enjoy your beginner level skills. 15. Drawing the Apple: [MUSIC] In this video, we are going to draw the apple. This is the image of the apple we are going to draw. Take the liner pencil and draw a circle, because there is a circle inside this apple. You could just draw the apple with the outlines, but it is good to at least a notion that there is a circle so that you get the shape of the apple a bit better. Draw a circle. Here is the apple and I'm starting to draw its shape here. I'm observing. I'm taking a look at the apple then drawing. Taking a look at the apple then drawing. I cannot see its bottom part because it's in the shadow. But I can continue up here. That's just fine. Now, erase the inner circle. Not the best, but okay. Again, I wanted to tell you that when you are drawing, try to look at the paper from the front because you might have a distorted image if you are looking at the paper from an angle. This is the reason mostly people draw on a drawing table, or desk, or door, or ink pads. There are so many different ways. Let's do a little recap about the process we do with the pair. At first, we identified the basic geometric shapes that can be found in the object, and draw, and place them. Then we observe the contour lines and try to draw them with the help of the geometric shapes. Then we have looked for the shapes of the highlights and the shadows. Then we added the shadows and filled in the mid-tones, then made the edges smoother, and done. Let's do the same with the apple. We've already found the basic geometric shape in the apple and have drawn its contour lines. Now your task is to stop the video and find the shapes of the highlights and the shadows on your own, then continue watching. Let's just talk about what is going to be what [LAUGHTER] in this image. Let's use this thing here. The cast shadow is going to be really dark, and this shadow is going to be really dark. Let's say this is going to be a mid-tone. These two shapes are going to be the white end of the paper. To have a nice gradation, we will slightly shade this upper part, meaning this value. Now just get into it and take out your shader. [MUSIC] There's going to be a pro tip here. If you're working on a bigger piece and you don't want to smudge everything, you should take a piece of paper. [NOISE] This is a drawing of my daughter and cover with something. Let's say I'm going to draw like this and I can put my hand on it and work like this and I will not smudge that part. Anyways, I think this apple is going to turn out pretty good. Not my best work, but anyways, this is just practice. Yes, we have highlight up here, we have a mid-tone down here, we have a shadow and a cast shadow. I'm going to spend a little bit more time on it because I'm not too satisfied. [MUSIC] I'm just going to stop right here because I'm overworking it, etc. This is just practice, so we step away from it. Let's continue with banana. I'm going to try to put it somewhere like here, where there will be simple or just in different direction of the light. 16. Drawing the Banana: [MUSIC] It's banana time [LAUGHTER]. This is going to be, I think, an easy one. I'm going to just take the liner, you have to sharpen the pencil, and let's just outline this banana here. I'm not going to go for a certain shape now because it's just like a simple one I think. But see that again. When I'm doing, I will draw a smaller banana. Okay, not that big as the apple and the pair was that I'm trying to find the perfect shape or the curve by positioning my hand always differently. Now, I can see that there is this line inside that actually follows this line quite a bit. Now as you can see, this part is actually almost in a full highlight. If I want to take a place where it is almost white, I can say it is here. It is here. Again, this is going to be a little bit shaded. This is going to be just a little bit. This is going to be the mid-tone. Here is the shadow down here. Actually, the most dark part is the cast shadow. It has something like this. I guess the light is coming from this slide up here. Pick the shader and let's get into it. What I'm going to do is to actually start with the cast shadow and have a little variation within the cast shadow as well so it is darkest below the banana, then it expands and lightens. Now I'm going for the mid-tone. Just simply going to be darker or lighter. Again, what I'm doing is just slightly shading. I'm going to soften the edges of this highlight so that I cannot see those shape lines I used. I can go over this here and maybe here. About the cast shadow, because usually, the surface the object is on, gives reflection back to the object. There is usually, a bit of highlight down here, but not that much. Okay, so what do you say? We have drawn a pear, an apple, and a banana. Let me just point to you something out. This Krita color pencil is a studio pencil, as you can see. There is a more professional one and an economic one. You can see a real difference between this drawing and this drawing, right? I struggled a little bit here with the shading because I couldn't control the graphite as much as I can with this one because this has better led. It's softened. I don't even know what's the difference between them. It's not like pigments as with watercolors, but there is a truth in having a quality materials make you more quality results like that. But if you have any pencil, you can still do this. But you will maybe need more efforts to get these results. Let's just revise. [MUSIC] We learned how to draw lines, how to use the lines to create patterns. So we did our first drawing project. Learned to draw shapes, learned to build up illustration from our shapes. We learned something about ourselves learned how to do simple shading and we know how free objects shaded. This is, I think, awesome. But now let's enter the dimensions even more. We're going to learn about perspective in the next video. 17. Simple Perspective: [MUSIC] Let's talk perspective. What is perspective? I'm sure there is a better definition. But in my own words, I would say that it is sizing the objects to create the illusion of dimensions. When we are talking about perspective, we are talking about space. Maybe we are talking about landscapes, etc. When we have a space, we usually have a horizon line. Let me just show you this. I'm going to talk to you about linear landscapes right now. That means that we only have a horizon line somewhere in the picture. Let's say, this can be the line between the sky and the land, but this can be the line of the edge of the table and this can be the wall or the background behind the table I have the objects placed on. The things that are closer appear bigger than the things that are further away. Let me just show you this with the camera. This is my hand and it appears bigger if we're just closer than the thing, meaning the pencil that is further away. It is approximately the same size. Let's talk about my little finger case. It is approximately the same size and when I bring it to the front, it appears bigger than the pencil. This is the illusion of space. In drawing, if we draw, let's say this is a simple landscape. I will draw a tree this big and it is going to be felt as it is closer than the thing that is smaller. This is true even when we draw still life. Let's say we have a composition. We have the horizon line here. Let's say we have a jug. Not the most perfect jug, but this is just a sketch. When I have, let's say, a pear behind it, I will need to draw this pair closer to the horizon line. If I have something in front of this jug, let's say the grape, I will need to draw it further away from the horizon line. When we are going to draw still life in the intermediate level, we will need to take this in consideration. This is perspective. There are several kinds of perspectives. There is a one-point perspective, which means that we have a wedging point on our horizon line. That means that if I have an object, let's say a house right here and I want to place it into dimension, these lines will meet at the finishing points. So let's say I'm drawing a block house and it is going to be seen like this. This is just an introduction to this. We are going to talk about this in the intermediate level because this is really not a beginner level of skill, but I want you to know that it does exist. Then there is a two-point perspective and a three-point perspective as well. We're going to talk about them in the intermediate and advanced level as well. For the beginner level just remember that in the perspective things that are closer appear bigger than the things that are further away. If something is in the front and are further from the horizon line, and if some things like further away from me, it is closer to the horizon line. Let's apply this in the next video where we're going to simply draw a pear again, and we're going to place some grapes next to it. [MUSIC] 18. Perspective Practice: [MUSIC] This is going to be an absolute simple thing because as we already have a pear drawn, I'm not going to waste another paper for this, I'm going to draw it here. This is going to be my image. Here is the end of the desk. Now I will draw two circles for the pear, a bigger one and a smaller one. I'll work a little bit on the outlines. You can use a reference picture for this, but now that you already drawn a pear I think this is an easy thing to you. Let's say that our light is coming from this side. Now we have a pear. Let's put a grape behind it. Let's draw it here, and let's put a grape here, one here. That's all. Let's shade it. Here is our highlight. We will have highlights on the grapes as well. We will have cast shadows. Now take the shader. Yes, I forgot the shapes of the shadows, so we will have a shadow here, here, and here. This is what I can do with the knowledge I already have. What I will start with is fill in the shapes of the shadows. [BACKGROUND] Oops. Fill in the mid-tones. Create a transitional gradation. I love to color it. Great. We will go into all of this deeper in the intermediate level. Now let's go and have a coffee break and talk about how do we see the world. [MUSIC] 19. Coffee Break : [MUSIC] Coffee time. Drawing is a skill. Everyone can learn it but then the question arise if I could have learned that already, why am I drawing as a six-year-old? The answer is because you have symbols in your head that you have created for yourself and around six years, everyone is drawing. It is totally natural activity for little kids. It develops their model skills. It helps them express their emotions and experiences. I'm sure you remember when you were in primary school, you had to draw what happened to you during school vacations and in the art therapy fun, we already learned that drawing has an amazing power and therapeutic effect and that, it can help process emotions and experiences. This is a great way to learn about ourselves. Now, little kids make scribbles then toddlers start to name them and at around six or seven years, you have things you draw over and over again. That's the time when you learn how to draw things and you actually develop your system of symbols. One thing is influence, for example, I remember that the way I draw a tree, I saw from the sister of one of my friends, she was older and I really loved how that looked like. I created my version of it and I'm still drawing trees that way. It's also the influence of your parents, how they have shown you how to draw things. Actually, you created a set of symbols for yourself as a way to express yourself on paper, similar to vocabulary. But in schools they make you to read a lot, to listen a lot, to speak a lot, to expand that vocabulary but they are not expanding your visual vocabulary if that makes sense. Or your symbols basically stay as they are if they are not nurtured or expanded and developed. Let's say I tell you to draw a hedgehog right now, what would you draw? A stylized version, of course, but it will have some characteristics you have in your head about it. It has a pointy nose, it has prickles, it has eyes, it has legs. You would draw something that has these characteristics, but does it have a tail or ears? If you had a chance to observe a hedgehog and redraw it several times, you would create an amazing drawing of it right now, that would be your developed syllable or overwritten symbol. But in school, in art lessons, you will usually create a decorative work and crafts. That's fine. But they didn't develop this visual vocabulary that they should've. But later, in the early teenage years, there's a breaking point when a kid decides if he is going to draw in the future or not and mostly talented or nurtured kids will remain at the art artists sphere. One thing is that if I asked you to draw something right now, you would draw a symbol. But that is, once you know about that subject, if you always draw what you know, you are not developing these symbols. You are not overwriting it. In order to develop your visual vocabulary, you need to observe that is another skill you need to learn. With observation, you can draw what you see and remember the characteristics of a certain object and overwrite your symbol in your head with it. In the next section, we are going to draw a random face. I will going to explain you the different parts of the face, what to pay attention at so that you can remember them later when we are going to observe somebody's face in the next level and you will already know these things and you will automatically draw them like that and you will have energy to focus on capturing another features of the face rather than getting the proportions right. Practice makes the master. Exercises we did until now, mostly to build up to understanding how all these works and in the beginner level, I think it is just enough to draw things with little observation and explore what you know about the things and just learn some rules that you apply into that and you are building up your drawing and then observational skills to mastery. The intermediate level, we'll focus on developing your observational skill. I would say it has a similar skill to learning a poem. It is the skill of learning the characteristics of a subject. In the next videos, we are going to draw a random face and learn some rules of the facial proportions. Let's get into it. [MUSIC] 20. Drawing the Eye: [MUSIC] In this few videos we are going to draw different parts of the face like the eye, the nose, the mouth, and we are not going to observe anyone's real face. It is a good idea to take a mirror and take a look around your face. But we are going to just only point out few things that you should keep in mind before we start to observe somebody's real face and then copy their gestures and characteristics. I will ask you to draw your symbols. At first let's talk about the eye, and I would love to ask you to draw the symbol of the eye you have in your head. Simply just draw an eye that you can right now. I guess it will look something like this. Or at least my husband draws it like this and I wanted to show you an example. This is the Mexican indigo, which is our inner jack at home. But let's now follow me to draw a random eye. First of all, what shape does an eye have? It has a shape of a plum seed. It has a curve like this. Then we have a tear duct right here, and we have curve right here. What I want to point out and you can just take a look at the mirror to see your eye. This part of the eyelid can be seen, so you should have two lines down here. Usually, you don't see the upper eyelid. As we have an eyeball, it is a circle. You should have a really lightly draw a circle around this shape from this part to this part, which means that this is your eyeball. But we don't see the whole of it. This line, this should be a bit smaller but okay. This line is going to notion the upper eyelid that you have and this should be the lower eyelid you have. Usually, you see these lines and we are just going to notion them. We're not really going to use them. They are really important when we are going to see the eye. Let's talk about this line is like that. This follows this thing here. Let's talk about the iris. If the person is in front of you and as in totally normal position, the iris touches the lower eyelid and is covered up by the upper eyelid a little bit. What I mean that you cannot see the iris, the full iris always, only if the person is really surprised or something and has a really wide open eyes. But usually the iris is touching the lower eyelid and it's covered up by the upper eyelid. I think this is too high, this curve but it doesn't matter. It is a bit, as you can see, this would be a full circle, but there isn't a full circle. The shape of the eye varies within the ethnicity, the age, with the emotion, etc. We are going to explore them in the intermediate level where we are going to draw eyes from different points of views, and then we're going to explore age and ethnicity as well. But right now this is just the random eye. What about the pupil? The pupil is simply a circle inside the iris and it is the perfect center of it. Try to draw the smaller circle into the inside of the eye. Now we have a nice eye. What do you say? It is a big progress from this one, isn't it? Now you should have a simple line like here because you don't have your eyeball in the tear duct, this is that pink area. I'm sure you know what I mean by this. What makes an eye realistic is the light and the shadow. Usually, we have light reflecting from our eye, which can be the window, which can be the lamp or the sun, anything. Usually, you have a dot in the pupil, and you can have a dot in the iris, you can see, I don't know, the windows. Let's say we will have reflection like this. In my illustration techniques I usually make a lively pupil with drawing one circle one a little something here to make it highlight here to make a little bit more realistic, but this is again about observation. Now we have drawn a nice eye. Let's shade it a little bit. What I wanted to say as well, that the pupil is black so let's just fill it with black. You glorify it to make it darkest part. Around in the iris you have some texture. What I really love to do is just simply lightly go around and just make some lines like this. It will give it a little bit of variation. I will darken this upper eyelid side. Draw the eyelashes. The eyelashes are again not straight lines. You should have some variation within it. What I love to do is to start at the top and this is not what I meant. This wasn't too big. What I wanted to do is to make it more organic keynotes. You will have this curve here to make the effect that is actually coming out from the eyelid. This still have the effect of artificial eyelashes, but it doesn't matter. Have some variation within it. One side curve, other side curve. This is not simple straight lines, but have some variation within it, and I went a bit crazy with these lashes. But anyways, down here these lashes start at this outside line. This is a bit too much, but okay. What I wanted to add is a little bit of shadow underneath. [BACKGROUND] As it has an eyeball. There will be a bit of a shadow of this, of it's around this, so really lightly. You don't need to go too dark with this just only it decides and add a bit of shadow into the tear duct. What do you say? It has a bigger difference than your first eye, so I just revise. We learned about how to draw an eye. It has a shape of a plum seed. It has a tear duct. There is an eyeball, so you will see this lines. The iris in normal position is covered up by the upper eyelid and touches still over eyelid. That the pupil is at the center. It has a circle. You will have a light in the eye, so you will have reflections in the pupil and in the iris as well. The iris is textured and there is a shadow underneath the upper eyelid. When you draw lashes, they are not just straight lines but they have little bit of curves in them to make the illusion that they are coming out of these upper eyelid. Let's move on to the drawing of the nose. 21. Drawing the Nose: [MUSIC] In this video, we're going to talk about how to draw a nose. If I would ask you to draw a nose right now, how would it look like? It will look like something like this or something like this? I'm not sure. But the main thing is that when you are drawing a nose, this part, I'm not sure how is it called, is not really the result of any line work. It is made by shading. The main effect that nose is coming out of the face. We are talking about the front position. We will do it with the help of shading. Only the line work we will need for a nose is this part. We will talk about the placement of these elements in later videos. You will need to draw a circle. This is the tip of the nose, and the nose will come like this. This is going to be just the line for the shading part. Now there are these two holes. One is here, one is here, and they are connected with this line. This line is actually the part of this circle, which we can call the tip of the nose. Now we have two nozzle holes. Now we have this line here, which serves approximately here and comes down here. This is just a random nose, so don't think this is something perfect or anything. What we can do now is to make the circle and these lines a bit like erase them, but let them be seen so that we can do the shading part. Get a 6B pencil, and we're going to shade the nose the way like we start at the top of the circle and make a little bit of a triangle down here, until this line we have at this point. Do the same at the other part. We are going to start up here, and follow this circle a little bit with a shadow shaded around as if it was a circle as we learned. Not circle, I mean sphere. How we learned it in the videos, how to shade a sphere. Shade it similarly. Actually, one part of the nose will be more in the shadow, but it really depends on the overall shading of the whole face. Here it is. Nozzle. Here as well, I'm just going to make these lines a little bit. Usually, or I think everyone has this thing below the nose. I'm sure you know what I'm talking about. We will learn how to shade it or create its effect. In the next videos, I'm just going to point it out that it is there. Then the mouth follows. Basically, let's just get a recap how to draw a nose. What we did, is we had drawn a circle, then we've drawn these two holes below that and made this line following the outline of the circle. Then we did these two nozzle lines and then we shaded the two sides of the nose and followed the side of the circle and shaded it as if it was a sphere. Let's say the light is coming from this side, so this part of the nose is in a bit bigger shadow. Then I just highlighted these lines a bit more. [MUSIC] This is how we draw noses. Remember everyone has a different nose, and we will explore it in the later videos. But these are the things you need to remember how to draw a nose. Let's move on to the mouth parts. 22. Drawing the Mouth : [MUSIC] Let's talk about how to draw a mouth. So how would you draw a mouth right now? I guess it would be something like this or just a simple line or I don't even know. What do we need to know about drawing the mouth is that? We always start with the middle line, so the middle line of the mouth is not straight. It has a angle up upwards. Then there is a little hillside or how to call it. Then there's a line down here again. I'm sure there is an anatomic name for this part, but basically, it is that your lips aren't straight. You have these little pillows here, I hope to call this. Now we have the upper lip which follows, this line, and comes downwards, and then we have the lower lip, something like this. So this line is longer than the whole lip. So whole lip doesn't start, like at this end. Now again, everyone has different shape of the lip. It is really different for everyone, but let's just see. Again, we need to shade a little bit to get more realistic result. The thing goes that the upper lip is always darker than the lower, so just simply shade it, and yes, it has a texture, so you can just draw some lines here, and the lower lip usually has a highlight, and then you have a shadow below the lower lip. So usually you have just the shadow here, and I'm just going to do this. There is a bit of shadow on the opening, you can make a bit of highlight here and there. [MUSIC] Great. So from this, we came to this. I think it is a big progress. Let's continue to the ear. 23. Drawing the Ear: How would you draw an ear? We are going to draw a front face, but still I think we need to go through this. What shape does it have? How would you draw an ear right now? It would be something like this, maybe. Let's just draw an ear. The ear has a bigger rounded shape, so we can actually draw a circle and a smaller circle below it, and draw its shape like this. As if it had big circle in the upper part and a smaller circle in the lower part. I will erase this inner circles. Now just look at your ear, we have this thing here. I'm sure you know what I mean. It is different for everyone, this part. We have a line that follows the line of the ear, and it disappears here somewhere. Where we have this thing, we have a hole, it has a bigger hole, and something like this. Again we will make this ear a bit more realistic by shading. Take the shader. It is obvious that it has a shadow below this line, and there is a hole here, and we have this part as well as a hole. My ear is not the best [LAUGHTER] right now, but I'm really doing this from my hand. [LAUGHTER] It is always good to see a reference photo. We are not going to implement this fully into the random face we are going to draw right now. This is just a reminder that [MUSIC] which lines should you usually keep in mind when you're drawing things like this. Let's just do a little recap how to draw an ear. I'm just going to shade it. It has a bigger circle up here. It has a smaller circle down here. Again, everyone has a different ear, this is just a random ear from my head. There is this line following the outline of the ear. This line disappears, because this part of the ear becomes the part of this. There is this big hole, from which we hear, there is this part, and it just gets together. Like this. Now when we are going to draw the ear from the front, because we will have the head like this, you're not going to draw the hole, but it will be important to remember its shape, and we will discuss where it starts [inaudible] Later we will draw faces from different angles, and then we will need to know these things. Let's just move on and learn about the placement of these facial parts. 24. Drawing The Face - Part 1.: [MUSIC] Welcome. In this video, we are going to draw a random face and apply the knowledge we got from the previous video where we have drawn different parts of the face. I want to emphasize that everyone has a different face, different characteristics, and these characteristics are different based on age, gender, ethnicity, even mood changes your facial features a lot. What I'm going to draw right now is an absolutely random face and my point here is to show you some rules we should keep when we are drawing a face. Even if you are drawing an image or an imaginary face. Let's just start. Position your paper into the portrait position, which means like this, and draw a line into the middle of it. I'm choosing 20 centimeters because that's how big my paper is and it fits the paper well, and it is a round number because right now we are going to measure things, so you will need a ruler as well. This 20 centimeters means the size of the skull. Now, find a 10 centimeters, it is the middle of it. This line will tell us the positions of our eyes. We will have the eyes on this line, and this line will be 15 centimeters wide. Why I've chosen this is because I need a number that can be easily divided by five, and it is like in a good proportion centimeter height. Right now I'm using 15 centimeters. I'm going to write everything in inches in the side of this video. Now I have like 15 centimeters and the reason why I need to divide it into five even pieces is because it is five times the size of an eye. Now I want you to take your finger measuring tool and place it on your eye, and then place it into the middle of your two eyes and you will see that the size between your eyes, is exactly the size of your one eye. If that makes sense to you. Now, let's divide this 15 centimeters into five even parts, meaning 3, 6, 9, 12, and 15. Now we will have an eye here, I'm just going to draw this lightly here so that you can see that there's supposed to be an eye, where the eye will be. What I want to add is that this sizes at the edge can vary from characteristic features of the face. But you need to keep in mind that this size will be always a size of one eye. What to do with this 20 centimeters. I want to take off two-and-a-half centimeters and mark this part because this will give us the hair. This line will mean the top of your forehead and this is the top of the skull and the hair can actually be above this point of the hand. Let's just get back to this part. We have the 17.5, and we need to divide it into three even parts, which gives us 5.8. This line will give us the position of the eyebrow and this will give us the end of the nose. We will have here. On this lower part, if we divide it into a half, so we have 5.8 should be half here. Let's say 2.9 here should give us the bottom of the mouth. This is the bottom of the mouth, bottom of the nose. We have the size of this code right here. If we divide it into half, we have the line where we have the eyes positioned. Then if we take away from the skull, I think one-eighth of the skull length, we will have the hair line, and if we take this size, the hairline and the chin, we will need to divide it into thirds. The first third will give us the line of the eyebrow. The second third will give us the bottom of the nose and if we make this final third into halves, it is give us the bottom of the mouth. [MUSIC] 25. Drawing The Face - Part 2.: [MUSIC] Now what I wanted to tell you is that these proportions are much more complicated. If you take a look on Pinterest, you will see hundreds of different types of division and etc. This is just a rough thing. For example when you are working down into a more detailed face, you might lose these proportions. It might happen. But again, back to our therapy, it can happen because mainly if you are not drawing a reference picture but from your soul, I might say, let me just show you this image I've drawn this, this is really not the best part I have done. This nose is too long and the face is too sad and it is some Melancholia I have inside me that I've drawn out and I feel much better. But also, if you can notice, I'm drawing two big eyes and I usually lose my proportions because of this. But that's my style actually, I'm just going to show you this Matryoshka painting I'm taking off the wall, and you can see that I'm drawing two big eyes. But that is my style, a signature style. It is not wrong thing to do something differently and not keep everything too strictly. This is art, we are doing art and I can paint a fish with human eyes, which are exaggerated as well. Make fun with art. I wanted to point this out. Continue to draw the parts of the hat with more detail and I will just show you some more proportions. Now let's talk about more of proportions. Let's just first draw the eyes. I always start with this eye, and it is actually a bit hard to draw exactly the same shaped eyes in a mirror. You need to draw these eyes as Anna, as if in a mirror. I try not to draw too big eyes right now. Don't forget the tear duct, and don't forget that we are drawing this from our head so it really doesn't need to be that perfect. We need to draw the iris and the pupil. There's a reason for that, it is because they will have something to do with the proportions and try to draw the pupil into the exact center of the iris. Now we have the pupils, the iris and the eye roughly drown. Let's talk about the eyebrow because the eyebrows will have something to do with the nose. We need to mark this eyeball lines I talked to you about, which is this imaginary circle around the eye because we have our eyebrow above that and just a little bit closer than the eyes we have. This is again, a different characteristic for everyone. What fibers do you have? I'm just going to note light line because when we draw eyebrows, we actually draw her. Lots of short lines and they say that you usually draw eyebrows similar to your own. I think that's true for the whole facial features. Even though I don't have that big eyes, but for some reason, I always love to draw big eyes. I wanted to have big eyes, maybe that's why I'm drawing that. But let's get into psychotherapy right now. Now we have the eyebrows. Not too perfect. I don't want to get lost in the details. Now touch your eyebrows and your nose starts exactly when your eyebrows are, so I'm just going to draw these light lines down here. We have the tip of the nose already and where do we have the nostrils? That's where we need the ruler again. You need to draw a straight line downwards. The nostril is ending right here. This is why we needed the tear duct. Again, the most perfect nose. But anyways, here is the nose. I'm going to erase just a little bit from there. Now, the mouth. We have the mouth here and why did the mouth is? It is exactly line from the pupil downwards. This is again a characteristic feature of once, but it is an approximate thing and you remember that when we were drawing the mouth, I said that the lips are not exactly starting at the end of your mouth. I hope you remember. I try not to draw a sad face again so I'm not going to make this mouth a bit less sad and follow the things we learned before. We have a shadow here, and we have the base. Now, I don't want to get into much detail and shading the face, etc. Because my point here is to tell you that these things are important when you are drawing your own characters and things with face. Let's get back to the Matryoshka I have created. This is an imaginary character, but if you can see still the nostrils and where she has the tear duct, and the mouth is as long approximately as the measure of the eyes, your nose and this proportion rules will make a harmony in a face you are creating from your imagination. That's important, rather than being always strict about everything. [MUSIC] 26. Drawing The Face - Part 3.: [MUSIC] Now we have everything placed hopefully well, and what I'm going to do is that I'm going to get rid of these lines just so that I can see them a little bit. Where is everything? But that it does not distracting. Let just make everything a bit better. Let's work on the shape of the eye. I'm going to add the light. Actually, I'm going to get my shading pencil. Do you remember that I told you that we have this eyeball lines up here, which means it's the upper eyelid? It has something like this here. Now, let's go to the nose. I start with the holes and then where does the nose start? They start at the eyebrows. Then remember that we have this circle right here. Try to give it a little shadow and our nose starts exactly at our eyebrows. Just check it at your face. This nose bone starts right here, so we will have a shadow here at this part. Now let's go back to the lid eye shadows, so we will have obviously shadow at this part of the eye. I'm not going to go too deep into shading right now, just a little so that it can be [inaudible] the nose. Below the nose there is this drop. I'll have to call it that this is really just created by a shadow, so you don't need to [inaudible]. Here we have the mouth, just drop this lower a bit we have the lips here and I told you that the upper lips are darker than the lower lips, so let them be like that and that we have this shadow below the lower lip, which gives us this nice three-dimensional effect. Notice that when I'm shading, I'm not holding the pencil toward the tip but rather further away. We have the chin which has an imaginary circle again. We'll have a shadow right here below the eyebrows. I forgot the lashes. I will not go crazy with them so that she has some. Great. Now we have the hairline so let just draw some hair like this and something like this. Let's draw the shape of the head which is similar to an egg. We have jaw here. Where do we have the neck? Below the jaw. We should draw an ear. It starts at the eye line and comes up almost until the eyebrow line, let's say. It has a shape like this and ends approximately at the end of the nose. This is an ear, let's say and it goes like this, I'm drawing this from my heart so this might not be full anatomically great. This is just the symbols I have in my head. This is an ear, I have to make this like this. Let's say she has her hair like this and her hair is again, not starting, let's say looks like this. We will not see her ear here. Does this great for a random face? [LAUGHTER] Not the perfect anatomy, not the perfect portraiture but still it does like really great that. We have these rules and knowledge we can remember and then we can produce something like this. Let's just revise what we learned in this part of the course. We now know that we have the size of this code and when we divide it into half, we have the line of the eye. Then if we take away from it, one fit eight of the whole size, we have the hairline and from the hairline to the chin, we have a size that we can divide into thirds. This gives us the line of the eyebrow, the bottom of the nose, and the bottom of the mouth so that we have place for the chin circle. We have a circle for the tip of the nose. Then the nose starts at the eyebrows and the nostrils are wide, as wide as one size of the eye actually because we have exactly one size of the eye between the two eyes and this mouth is as wide as the middle of the eye I would say, so that where the pupils are. Everyone's face has different features. Female and male faces have different characteristics, even age and gender has a big effect on everything and even our mood. Let's continue to the next video. [MUSIC] 27. Beginner Level Summary: [MUSIC] How are you feeling? This was fun. I hope that my goal was fulfilled, that you let go of the fears of the blank page of the pencil and that now you are not afraid to do art and you just enjoy it because that's our point. In this video, I'm going to summarize the beginner level skills you already have and give you some suggestions how you can use them. First of all, we learned how to draw lines with different properties, how to hold a pencil, how to position the pencil in your hand. We create a littles and tangle exercise and mini-project where you were able to create an artwork entirely from lines. Then we move to drawing shapes. There I emphasize the patience and drawing a lot of short lines in order to find the shape that you are looking for and that every object is built up of basic geometric shapes. Then we have a little art therapy fun where we created a simple illustration buildup of simple geometric shapes. Then we analyzed it and learned a little bit more about ourselves and about the power of drawing and doing art and things like that. Then we learned that we can create forms from shapes by adding shadows. We learned what values are. We learned the reverse shading method and shaded a pair, an apple and a banana. We did some value exercises, we shaded geometric shapes and created a sphere, a cone and cube. Then we learned about linear perspective and learn to place the object in space. If we draw something bigger and further away from the horizon line, then it appears bigger than something that is further away and it's closer to the horizon line and it's smaller. Then we had a coffee break where I explained you about the symbols in your head. What do we know? What do we see? If you don't remember, you should re-watch that part. Lastly, we learned how to draw the different parts of the head, the eyes, the nose, the mouth, and the ears. Then we have drawn a random face. That was a lot, and that was just enough for the beginner level. I can tell you, you can confidently stop right here because with beginner level skills, you can create art you can live from. That was a hard sentence because you need to realize, I hope you already realized that you don't need superpowers to be successful in art, you just need to do it. Let's take an insight into different visual industries. There you could have a chance to apply the beginner level of drawing skills. Let's say illustration. You can create easy children's book illustrations and easier to drawing, yes, it is better for younger audience and just take a look on any book on drawing on a toy. They are simple shapes with color. What you need to do now is to learn more about color and a technique. For example it can be watercolor, gouache, or digital. You can use this knowledge for surface pattern design. Most of the textile patterns don't contain difficult layerings or application of perspective or rendering. They usually contain visually appealing shapes with flat color. Just take a look at textiles you have at home. If you're interested in dat, take a step towards learning the digital process of creating a pattern. Let's say in Illustrator, Photoshop, or even Procreate. Let's talk about graphic design. You can apply this knowledge in graphic design. Logos, icons, clip arts, again, are mostly built up from simple shapes and flat color. I bet there are thousands of successful graphic designers who cannot draw a proper portrait. That's just fine. What I want to point out that you don't need to think that little about yourself and your abilities. All the things that you could know shouldn't intimidate you, but you should look at them as possibilities. There are so many things you can learn about art, doing art and living as an artist, but that shouldn't stop you from doing what you already know. Don't say, I'm not going to create this illustration because I don't know the two point perspective, maybe it's just not your thing. Maybe shading is not your thing, then you should stick to line work. You can build an entire portfolio on botanical line drawing. It is beautiful and it is amazing, and sold for. It doesn't even matter because then you are reaching down and it may lead to greater success. You can just create art for art's sake. You don't need to be an illustrator or graphic designer or surface pattern designer. I just want to tell you believing yourself and your abilities. Use what you know, do what you can but also never lose your curiosity. Never stop learning and see the possibilities all around you and in you [MUSIC] 28. The Project: Talking about the project, create a final artwork of your choice. If you liked this entangled project, the most, then find a more complicated subject and create it with disentangle style. If you are more into illustration, build up an entire scene with applying the perspective for example, and simple shapes as we did with the house project. You can also implement color if you want. If you are more into traditional shaded drawings, then I suggest you get an object, observe it a little bit, and apply the reverse shading methods and shade it like that. If you like the facial proportions part, draw a random phase or an imaginary character by keeping some of the proportions. If you remember, I tend to draw big eyes and it is really not a problem if you do that, you can experiment with changing the proportions and explore the ways you like to draw. Again, I'm not forcing observation, I want you to draw from inside you to let your symbols out so that we can level them up with observation in the intermediate level. Don't be afraid to draw how you draw. Don't be ashamed of it. I am really excited to see what you create, and I will give you feedback. I will try to give feedback to all of your projects because you are important to me guys [MUSIC]. 29. Final Thoughts: [MUSIC] We are at the end of this level, thank you for watching. I hope that now you have the feeling that you can do anything in the world. I encourage you to use your knowledge and research possibilities where you can use them. Let it be illustration, surface pattern design, or graphic design or watercolor painting, I recommend you to keep regular practice in your drawing. Keep expanding your visual vocabulary by regularly drawing ordinary objects. It is enough to sketch them. You can also shade them, but my point is to make your eyes curious, look for contour lines, highlights and shadows, and walk around in the world with those curious eyes. If you will, let's meet in the intermediate level skills. Don't forget to follow me on social media or on Instagram and Facebook and also here on Skillshare. I will be so thankful for a review. It helps me understand you better and it helps the course to rank higher so that others can find it more easily. Thank you for watching again, I can't wait to see your artworks. [MUSIC]