Transcripts
1. TRAILOR: Hey, my name is IJ, and I'm a self taught oil acrylic pastel and
multimedia visual artist. And I'm here to let you know
if you can draw square, circle, triangle,
straight lines, squiggle lines, and more. You could mix all
these variations of shapes to create
something wonderful. So I've developed a
three step process to help you draw anything, regardless of the
skill level that you're from in three easy steps. The three step drawing process will most definitely help you draw anything you can think of no matter your skill level. Step drawing process will help you draw anything
you can imagine. This method simplifies complex
topics like proportion. Overall shape and linework, while making it easier to refine details and bring
your subjects to life. I know that drawing can
sometimes feel intimidating, but this process condenses my years of experience
into something so simple. Almost feels like child's play. Along the way, you will gain invaluable skills such as
popping like an artist, understanding how to observe
and replicate with intent, exploring styles and techniques, learning how to
create variations and see your own style are developed in your
own artistic voice, seeing how everything connects
from structure to details, all part of a seamless process. You also have plenty
of examples to study, including step by
step breakdowns and detailed inspirational works
to reference and learn from. And as a bonus, you'll discover simple yet powerful
shading techniques that will enhance your artwork, taking you from a
beginner to fully capable and ready to
take on any challenge. I'll get even clearer.
I'll show you a live demonstration of how I use these exact three
steps to draw anything. So with that being said, there's no reason
you can't do it two. It's as simple as
one, two, three, so grab your pencil
and let's get started.
2. Quick warm up : Hey, guys, welcome
back to the class. Before we start
drawing together, I'd like you first
to do a quick warm up so we can get our wrist loose and start drawing with no restrictions
or stuff movements. So this is a quick
warm up exercise. What we will need is something
as simple as a pencil, paper, and also pen so we
can start our drawings. Also, feel free to always come back to this whenever
you're ready to draw. So we'll begin by drawing some loose shapes such
as a triangle and repeat that as many
times as we can to get the flow of how lines connect to each other
to create a shape. Then followed by a circle and repeat the same
process as well. And then we can also draw a square and repeat the
same process as well. So from this point on, what are we doing is
basically the same thing as we did before by practicing shapes and repeating
the same process. We also it'll be wise to play around at the
shapes in different angles of what they
could look like. Most importantly,
this part is not about getting everything
accurate at first go. It's more about practicing
and getting more comfortable with your drawing techniques and feeling how the pencil
moves across your paper. You could also practice
lines, loose lines, and straight lines to give us a precision when it
comes to line making. You can always play
around with how lines interact with each other when you put them close
to each other. Most importantly, the whole point of this process
to get you free, and it's to make you understand that not everything
has to be perfect. It's more about the flow and the accuracy of your intention with your lines and
how they all match up. You can also play around with different shapes and, you know, have fun with how
they could look when you do change
what they look like. When you add
different line making techniques such as spirals, et cetera, most importantly, you can also find shapes that
you have lain around and something that you'd rather
do than it would be square, circle or triangle to create your own shapes and have
fun with the whole process. Most importantly, this
is all about being free around drawing and not
taking it too seriously. Being laid back overall. So that being said, have fun in practicing this technique, getting used to drawing
and making sure that you're confident when you
are applying your skill set. On the next page. In
this class exercise, I'd like you to practice
drawing simple shapes and also play around with unusual shapes as well to get the
hang of drawing.
3. Thethe not so secrect technique : Guys, welcome back
to the next segment of the drawing process. And in this one,
I'll be teaching you quite an exciting
technique that you could use to carry on your
drawings into perfection. This section, this is called the not so secret
technique to drawing, and I'll explain
why in a second. So in order to understand
how this technique works, you have to understand
at least three things, which I've broken down into LSD, which basically means
line, shape, and distance. And how all these three things interchangeably connect to make something
that makes sense. Also, on your right hand side, I've included an
example to break down how this technique works
so you can see how line, shape, and distance are in. So on the left hand side, you could see about
three shapes. There's about two
apples and one pear. So how this works is that
I break down each shape individually to the
relative shape and what it looks like from a bird's eye view, that makes sense. Basically, I would trace over the shape representing
what the shape looks like. For example, the first one
first apple would be a circle, followed by another circle. Then the pair would mostly
likely look like oval. So that explains
the shape aspect. Now let's be about lines
and how lines connect. So with lines and line making, I go across and I go above, making sure to create an
axis within the shape. This helps me control where I could render out
the next detail, as well as keep things a lot more controlled and sectioned. So this helps you focus on
smaller parts of the image, helping you build
a bigger picture. Now on the right hand side, I then repeat the same process, following the same steps
as drawing simple shapes as observed with the
apple and the pair, followed by two
circles and one oval, in a sense, just to get a form of what the
shapes look like. I then add lines within
axis of the shapes, finding a bit of a
middle ground to see the distance between
where things are located. So from this point on,
I'm just marking lines and shapes and different
areas in which I see a relative
area that connects different things to what the apple would
rather look like. And I keep doing this to a point in which I find a
comfortable spot to reference from as I'm
observing the apple as a whole. On this point, it's not
necessarily about being perfect. It's more about getting
just an idea and a comfortable area
that you could work from and render and
improve as you go along. And as I carry on, I get
more confident in my line making by slowly and
gradually adding details, building up the texture of the objects that
I'm drawing to give this a bit more of
a realistic sense of what I am trying to
render on my paper. So this helps you build
context when you are drawing images and details
onto your sketches, which builds a bit of
character as you carry along. And as this process
is happening, I'm keeping a way of not over perfect the
line that I'm making on the page because I
do know that I am going to change them as I
observe carefully. So this is just a
quick demonstration of how you would slowly build
up something with layering, there's a layering process that is used to create
anything from scratch, because you have to follow specific steps in order to
make it look surrealistic. It doesn't happen in one go. As I get more confidence, I do tend to shade a bit
and to soften up the edges, making them mimic
the actual texture of what apples and
pez would look like. And from this point on,
it's more about having fun. Going back and forth how you would like to
rent your image. The most important
thing at this point on is just to play
around and make sure that you're comfortable or satisfied with the shape
that you are rendering. Then from there, you
can then adjust and fix as you go along.
Listen summary. I've created points
to help you refer to whenever you do for lost so you can help get back on track. So first, I'll say simplify the image to a shape
as simple as you can. The more simple, the better. If you looks a bit
more complicated, that's fine as long as you understand the shape
that you're drawing. Secondly, I'd say use lines
and shapes and distance to connect each other relative to the next point so the
connect create an image. Lastly, I would
advise that you would save details for
lost because now you only do that when
you feel confident in your drawing in
order to add details because the last
thing you'd want is to have things out of
proportion because you do not focus on lines the details and
simplifying the shapes. Most importantly, overall, it's important to see
images as shapes rather than the things
that we call them to make things a lot more simple
when you are drawing them, to give them context
behind their details. That being said, feel
free to practice this technique as much as
you want, and you can. It's not about being perfect but about understanding the
next steps to follow and always knowing that can fix something within different parts of the process to
get what you want. It's not the end of the world. With that being said, have fun, and I'm looking forward to seeing your
progress from here.
4. The tree simple steps: Guys. Welcome back.
And in this segment, we are going to be breaking down the steps on how
to draw anything. Starting with step one, break down your reference
into simple shapes. So for this example,
I'll be using a rabbit. As a reference, you could use whatever reference you feel like using to show you the steps. So I want to show you a quick
tip on how to make things a lot easier when you are getting
into these simple steps. So I start first with finding a reference and breaking them down into simple
lines and shapes, isolating different
areas of the image. Even the most complex images could be breaking down
into simple shapes. The most important
thing to focus on is to break down
each section of an image into the more simplest form of
shape that you can see. Then this builds a
good foundation for you to build upon when you're working with
details later on. When bringing down images, it's important to focus on the obvious
shapes as opposed to the detail which
will help you break down the sections of the
actual image in reference. So when you draw from it,
it's easier to follow. This example, I used a iPad
to illustrate the technique, but if you do not have an
iPad or a digital tablet, you can you could trace over a printed image
to make it easier. I found out that you do not have to use an iPad for this example. You can as well use anything at your disposal as long as
you can just trace out the sections and get
separated and ready to be drawn how
when I am tracing, I do not focus too
much on detail. I instead focus on
the big areas of shapes before breaking them
down into smaller pieces. So the rule of
thumb, I would say is to work from the big areas, then go to the smaller areas, so right after it isn't a strict rule to follow as
this is the way I do it. But most importantly,
I always make sure to break down
every section of the image into the
most simplest forms of shapes to help me
work from later on. Most people get to
bog down on detail, but I think it's
very important to have the fundamentals down when you come to line shape and space that you could
then draw from. The details are
usually refer to for. So now that's out of the way,
let's get right down to it. Well, I'll be using the
rabbit reference from the beginning to follow through and to show
an example of. You can feel free to
pause at any time of the video to break the steps and draw and follow as I am completing
itch step of the way. So as you see, I'm
first starting with the obvious sections of
the image by tracing out the simplified
forms of each area of the rabbit to give a loose itch and a loose
idea of what I'm doing. Most importantly, focusing on overall shape and linework connecting each
section together, making it a bit of a sculpture
of the actual image. Details are focused on
at this point of time. Step two, refine and adjust. So in this section,
we're going to refine the shapes and adjust
the loose details, tightening up or drawing. Now, as you can see, there is a faint image of the previous drawing that
we have done before, and that is to help you guide you through the drawing
as you continue. I advise that you use a light pencil when you are creating your
sketch so that you could refine as you
go along so not commit to any hard lines at the beginning of the
stage of the drawing. As you can see, I'm getting
more confident in my linework and breaking down each different area with
a bit of detail. This helps me lead me to a good place in which I
feel confident to draw from Step three, adding details. At this section of the lesson, we will be refining and adding more details
to our drawing, as well as finishing
the drawing and getting it to the point
where we are happy with it. So on this step, we are
refining the drawing. As you can see,
we are continuing from the last drawing
that we had left off. That's why it's very
important to use a light pencil to
build up your layers. And I want you to take note
of something very important. That I will try and get
across, which is layering. Laying is a process
of working throughout different points in time
and getting your drawing refined and getting areas of confidence in which
you could draw from while improving the linework and the distance that is
being made onto the drawing, getting it to the
point in which you could see the details and deciding whether
or not you'd like to go further or leave it as is. Depending if you're satisfied
with the overall outcome. We are now reaching the fun phase of the whole experiment. And in this phase, we are going to be experimenting with style. We're going to play
around with techniques and experiment with
mediums as well. And for this example, I'm going to be using the dog
as a reference. When it comes to style, style is very relative dependent
on the tool that you use. But the first one, I'll
be using the HB pencil. And I'm dependent on values, which means that
I am drawing from doc to your light to values, making sure that I get most of the overall image
and scraping away. And that gives the overall image more rugged look
because dogs have fur and pencil marks reflect that characteristic
on the next drawing, I'll be using a boilpoint pin, which is an ink based
medium. And for this one. And for this style,
it's more about putting down my
lines confidently, understanding that not every aspect is going to be perfect, but getting the overall feel and the overall rugged ish style with more of a defined ink
look at the end of it. And this reflects in the details and lines that come together. With a bit of spacing between. Lastly, with the last style, we have more of a loose style
that is a lot more playful. And with this one, I'm using a boilpoint marker that
is a lot more permanent, but allows you to
play around with your permanent marks. Given
more of a playful look. This emphasizes the
concept of stylized lines. Most importantly,
I'd like to end on a good note by saying that
practice makes perfect. The more you practice,
the more you get a grasp of these concepts
being put into place. And it's very
important to have fun. At the end of the day, it's
all about having fun and experimenting in fun your own artistic voice and
artistic style. In the next class,
I'll be showing you a live demonstration of how I put all these concepts into practice from
start to finish.
5. Steps in action: Hi, guys. Welcome back. And this one, I'm going
to be demonstrating a live example demo of how I put all the
lessons into practice. So the first step,
we are going to be breaking down a
reference into shapes. You can take the reference
I have available and you can follow
the examples along. So as you can see, I am
breaking down the shapes into the more simplest forms onto the reference
that I have available. I'm using eagle for this one. I'm making sure
that I'm breaking the different sections of what makes the eagle
come together, connecting them in a way that
I could use to draw from, to make it a lot easier. Notice how I'm not going
into too much detail. But I am going into
the looseness of the shapes of the different
areas that make the eagle the eagle while
breaking down them into sub sections that I could use as a reference to
copy from later on. In this stage, it's
all about breaking down the simplest forms of
shapes and in ways that you can understand that
makes it easier for you to refer to and
copy from later. So as we've broken down the reference into shape
that you can stand, we make things easier
by starting with the most simplistic area of reference that
you can copy from. For example, I am
first starting with the most recognizable
shape that I can recognize from the actual
image, which is a circle. As I'm drawing the circle, I focus in on smaller areas that I could identify
as shapes as well, interconnecting
each shape closely related to the next
one that follows. As I'm doing this part of
the actual drawing process, I keep in mind to keep my pencil light and fluid enough to play around with how each
and every shape curves respective to
the actual reference. At this point on, I am breathing the space between
the different shapes, focusing more on delative
space and area as it relates to line so
that when I come back and refine each
shape in its section, I create a sense of detail that breaks it down
into what it should look like. At this dip, it's very important that you take your
time to analyze how the shape relates
to the reference so that you can have full
confidence in what you are drawing and makes a
lot easier to fill in the gaps when you advance
onto the different areas. As you can see, each and
every shape is unique to their own style and
what they look like. So having a sense
of what they should represent helps you navigate how to draw the details
in the later stage. As you can see, I'm keeping
things quite loose and fluid, respecting the
shape and distance. That would be the ratio of the actual drawing
when I put it down. Sometimes in this stage, it's easy to go back and forth to analyze, and
most importantly, get the spacing between
each and every shape right or somewhat close to the reference so that your drawing is not
out of proportion. This phase is also known as
the foundation design phase, where it's more
about having things closely related and
not too refined. As you continue my drawing, I keep the same process
and same principle of finding out the distance
between each and every shape. When I'm going to the
feet of the eagle, I break things down
in a way that would make me identify them and also adjust each and
every shape as I go along so that it makes it easier to refine
and to draw later. Notice how I'm going in a
circular motion for the shapes. As for me, I feel
more confident in drawing things in sections
when they are circular. Because that gives
me the space and the ability to then play around with how I could refine them in each section
as I go along. Also, notice how
each and every shape is not the exact distance, but it's something closely related to then go
back and refine. Now, I'm moving on to
the refining phase, where I can now refine each and every area respective of where they are coming from, giving them a sense
of character. By doing this, I
make it easier to now form a bit of detail
in each and every area, making it more prominent
and making it more obvious to the viewer to give the illusion of
what is being unfolded. For example, as I'm drawing the actual feathers and the
actual beak of the eagle, you can see that it's
forming something that's closely related to what the actual
image looks like. I'm paying close attention
to the amount of beaks each and every section
has, but at the same time, you do not have to draw things exactly as they are
because this is more of your interpretation of
what it should look like rather than it as
a one to one copy. I'm keeping my pen light across
the actual drawing phase, not to permanently damage the whole drawings
entirety of itself, but then to allow me to
navigate between spaces. When I gain more confidence
and self assured in the areas that I am imitating
from the reference, I then go in and work my
way from dark to light, shading respective areas of the actual image that will imitate what the eagle
would look like, giving it a sense of
character and style. In this phase, I'm
paying attention more so to the different shades and
areas of the actual eagle, giving it more of
an energetic look as I shade each and every area, not paying attention to
doing it exactly as it is, but giving it more of nuance and characteristic when I am
playing around with the image. So this style that I'm using for this actual ego is called the
scribble and doodle style. As you can see,
it's more energetic and lines could flare out
from the actual wings of the image and give it a sense of movement and electrified
life onto the page. This phase is more about
personal preference in terms of what
you'd like done, but at the end of
the day, you can stylize the drawing
however you'd like. For this class exercise, I'd like you to choose
an image first, then break down its areas into simple shapes with a pen or marker that you
have available. Then follow the simple steps of the drawing process and
leave the details for last. Lastly, if you want to
do it as an option, you could experiment with the style and feel of
the actual technique. And
6. More Examples : At this point, you should
have a good idea of how to use the three
step drawing process, which consists of lines, shape, and distance to construct any drawing that
you can think of. So with that being
said, I'd like to show you more examples of how I use the same principles shown in earlier video tutorials of how I build my drawings
from start to finish. For the first example, I'll be using eye to illustrate
how this works. As can see, I am simplifying
the shapes for step one, drawing in simple lines
and simple shapes that connect towards what
the eye should look like, not focused too much on detail. Now, after that, when
I get more confident, I then add a bit of
charcoal marks to darken areas in which like to highlight to give
a lot more depth. This is not about putting
all the details all at once, but more about
having an idea and general sense of where to place your objects in relation to each other to give you a general idea of what it would look like
when you put them together once you
have the go ahead to then go to step number two
to add more detail and finally to finalize the
whole drawing by adding a stylized version where you could use your own
medium of choice. In this case, I use the
charcoal drawing because I like the permanence and the depth that it brings
towards the drawing. At the end of the day, you would have something
that would look convincing and don't mind the fact that I drew
this in Hyperlaps. It takes a lot
more time focus on where you'd like to put your shape to construct your drawing. It's more about being
loose with it and falling the steps as
casually as you can. And for the next drawing, we are going to be drawing a fist. This one has a lot more
straight lines and rigid edges. So what we'd be doing on
this one is we'd be breaking down each area as a diagonal
shape that has edges. For example, when you
look at the wrist, the similar to what a rec tang would look like with a slide curve on the right. So I try not to focus too much on getting everything
right and proportional. At the start, I try to
get a feel for what I'm drawing and seeing how each
edge connects to each edge. And keeping in mind that as a first does have five fingers and counting each and
every finger to give them the sense of space when I'm going to
add them later on, I then go to add on the
detail and like before, family using the charcoal
pencil because it highlights things and shows that you're confident about your lines
as you draw them on. And as I go along, I
highlight each area to give a lot more detail as the fist
is in the enclosed space. It shows the muscular center
on your right hand side, so in that it's crouched in. And yeah, that would be how I would approach things that
aren't necessarily round, but are a diagonal. Everything has their
own shape and can be identified and drawn
when focused on. And next example, we will be practice on the face,
such as portraits. So mostly portraits are one of the most difficult
subjects to draw, especially because they
have a lot of detail. Beans, we are very
keen on seeing what is not correct within the
human facial structure. So it kind of makes
it hard to focus on which areas to
start with first. So as you can see,
I first start with a huge circle to then sensify the area in
which I'd like to draw from then simplify
the shapes around me, such as the area
below the face with a similar shape to a triangle and connect each and every
element as I go along, making sure that not to alienate each area
that is closest to it. I try to draw each area
as fast as I can to just get a general sense before I then ran out the
rest of the details. The next example I'll be
using would be a rose. So it might look
complicated with the different shapes
and petals around it, but I start the
same way by using a circular shape
in the center of the whole rose to start as a center point to
guide me around the rose, and I try not to focus too much on definite
details at this point. But when I do find a
confidence point in which I can now darken the
areas and the details, I use a charcoal
to darken and then add emphasis on the overall
shape of the flower. Or rose. I'm now moving to more complex subjects such
as three sheep or lamb. I'm not too sure what
I'm looking at exactly, but these are three
characters that do tend to complicate
a drawing overall. So with this one,
I first start with the same steps as using the general shape to identify
what I'm looking at. I start with the biggest
shape on the right hand side, which is the mother
lamb or mother sheep, and then I break down each shape in terms of distance to isolate each and every character in the subject in order to break them down in
space and time. And a sense of perspective shape and also a sense of area in which they
could breathe alone, as I do tend to rend
out the details later. I like using light pencil for each and every of my
drawings as I start along so that I do not feel
too pressured to make down marks when I'm taking
out each and every area. I then tend to render
out the details by slow lean gradually
adding limb on to darken the areas in
which the fur shows its characteristics as
sheeps do have fluffy fur. And also, I also shade the areas in which they show
the shadows and the light, highlighting the
different aspects of where light and shadow met, even the three dimensional form as steps are all
the same all round. It's just rent and
repeat at those points. Practice makes perfect, and you get better the
more you practice. On the next drawing, I'll be drawing something a lot more
complicated than the sheep. Although it might not
be three subjects. This one is of horse rider or pony ride, I'm not too sure. But this one, I break down the same rules and the
same steps as before, break down things
with simpler shapes, not focusing too much in detail, using a light pencil
to render out areas in which I could use to
then add these later on. Keeping in focus on proportions, it takes a lot longer to
render out these ones because they tend to have
different curve lines and shapes that interconnect
with each other. But they're all the
same. In the day, just renter and repeat
repeat the same process, and you'll have something solid that you could work
from in reference to. And with that being said, I hope with all the
drawings that I have just shown examples that this
helps understand that yes, you can draw anything,
and it is very possible, with the power of
observation and focusing on areas that
you can simplify, it's all about making things
simple before you make them complicated as you go along the journey and most
importantly, having fun. So, yes, you can draw anything
with a three step rule. All you have to do
is pay attention and keep practicing
at your own pace. And most importantly, as
I did mention, have fun. For class exercise,
we will choose three different images
you would like to draw. Choose a reference
that you would like to draw as your
favorite reference. We will start from one animal, then move on to one portrait. Lastly, one landscape. This will give you an
idea on how to draw different things and
variations of things that you could use to build context in a drawing and to strengthen different areas of
your drawing skill. Also, it's very important that you share your
work in a project menu. It would be very good to see each and every one
of your drawings and your creations so we could build upon inspiration and also
give each other feedback. This will make it
a much more fun process when we are
creating our work together, as you can see different
levels and different areas of expertise that we can also add and share along the journey. But that being said, always have fun with the process and
take it as easy as you can.
7. Shading and style : So for this one, we
will be showing you how to stylize your work using
shapes and techniques, as well as different methods
of shading from inspiration, breakdowns and types of shading, such as hatching, crosshatching, contour, scribbled, stripping, and also circulism,
also known as shading. Or drawing for circles to show examples of different areas of shading that I
would use as examples, we will first start
off with hatching. Hatching is a technique in which you use your methods
of dark to light and you shade in a
straight line just to get the overall texture of the actual shape that
you're trying to shade. Gradually moving from dark to light and adjusting
as you go along. And for this one, I'll be using a portrait to demonstrate
the technique of hatching. So hatching is a technique where you would use
straight strokes of lines to differentiate
different areas of the image that
you're trying to draw, giving them a contrast from dark to light to bolding
up layer by layer and getting things as
detailed to a point where you could differentiate
different areas from the actual portrait. It's as simple as
dark to light and navigating where
your light shadows are and your dark as docs are. There are no secret
rules to this. As long as you know where
to put your lines to make a difference between the
next line that comes along, you could also evolve this
style into cross hatching, which we'll speak
about it, but later. For the next one, you're going
to be focusing on shading. Graduating from dark to light
with a circular motion to give a form of softness towards an image and the shape that
you're trying to draw. So with shading,
you want to focus on going from dark to light, gradually shading areas to differentiate each
other from one another, and also keeping in mind of the texture of the area
that you're drawing. For example, the haze from the skin and the
eyes that all have the different forms
of transitions that give them a form of characteristic when you're
actually drawing them. So shading, the principle
still remains the same. The only difference
is you're focusing on soft applications of shading. Versus the cross hatching, which is more of the
energetic heart strokes to differentiate
where you are shading and to give it a
bit softer light when being applied
towards the drawing. And this gives it a more
traditional look where you could see the soft transitions
from light to dark, giving the shadows
a bit of character. And we on to the next style,
which is called scribbling. Scribbling is similar
to cross hatching. The only difference
is you are moving throughout the page frantically
from dark to light, trying to get a sense
of where you're going. This one is a lot more
expressive because it has no rules and is a
lot more freeing. And it scribbling, we start
off with the small areas, trying to define them and differentiate them from the
other section of the image, moving gradually
towards the page, not necessarily finding
a space that makes sense because this is more
of an expressive style. But as long as you have your fundamental areas mapped out, you will not get lost when
you're moving around page. This is a lot more energetic and gives you a sense of
freedom where you could play around with the different strokes
in different areas that you're trying to capture, not feeling too restricted
on where you have to stay. It's more about having a loose
frantic form of shading, giving you a sense of
an electrical charge being transmitted onto the page. For the next style,
we're going to be talking about geometry. Well, geometry is unpredictable, but one rule that
I would follow is to keep lines as
straight as possible, giving them sections
in which you can respect their line of flow, making them a unique
way to showcase a bitter style and fragility when you are drawn and shading. With geometric shading,
it's good to keep a solid line breaking down in different areas that
you're trying to focus on. Most importantly, section off the areas that you'd
like to focus on, keeping the line straight
and consistent for each and every area that
you are transitioning into. Geometric shading is a sense where you are sort
of restricted, but given the freedom to section off areas that
you can try to focus on. And there is no rule for putting each line and each angle and shape within
an actual image, the whole point is to show
the view that you are trying to break down
an image to make it look like a sense
of broken glass, giving it a sense of
three dimensionality. This section concludes the section of
stylizing your work. I hope you got a bit of an
idea of how you can mix, play around with different
shading techniques to express how you'd like to draw your portrait or make
it look different. And also, it's important to understand that these
techniques have the very same
fundamentals when it comes to moving
from dark to light and are used interchangeably
with each other to give you a more unique
sense of style when used. So it's all about
having fun and playing around in different ideas
on how to express them. Each and every of them are
unique in their own ways. So for this class exercise, I'd like you to pick any of your references to draw
from as inspirations. Then draw your image in
four different styles, and finally post your images to the submit your project
tab for feedback.
8. Class project exercise : So we are now in the final
segments of the class. I hope you guys are excited to learn the fundamentals
of drawing and shading and are excited to progress and grow
as you go along. Remember, you can't
draw anything. Just remember the
three easy steps. Step one, break down your
reference into simple shapes, making them easier to relate to. Most importantly, getting
the correct proportions. In step two, refine and adjust, refine the shapes and
adjust the loose details. Step three, adding details, refine and add details, finishing the drawing,
getting to the point where you can add the realism
towards your drawing, making it more convincing. At this step, it's advisable
to take your time to focus on each and every
detail that you can capture, not being too overwhelmed on any small detail that
you might overthink. It's about taking it easy and gradually building up your
drawing within layers. A key is overall observation
and careful implementation. For your assignments,
I'd like you to draw the things that
you like drawing. That makes it easier
to get into drawing and move along get you
enjoy the process. Most importantly, I'd like you to use the three steps
in a way to build up your drawing and show how far you've gotten
with each and every step, building up the confidence to get better drawing
each and every day. Most importantly,
practice makes perfect. And as simple as the steps are, they improve with
practice and time and overall observation and
careful dedication. Also, don't forget to have fun, which is the most important part of the whole process is having fun and enjoying
the whole journey throughout the whole course. And with that being said, I'd like you guys to
feel free to share your drawings and pieces that you have made in the project
window of the course, as well as I would advise that you start with
simple shapes and you build on top of that as you gradually get the
confidence to get there. Remember, drawing is a skill and takes time to
learn and master. But with the fundamentals and principles mentioned, you
can get there in no time. As well, share your questions and comments in the
comment section. And if you have
something you'd like to ask me directly, feel
free to comment, and I'll get back to
you as soon as I can, so you can share tips along the way and improve
as a community. Have fun, guys.
Awesome. And once you've completed your
class assignment, share and submit your
completed drawings to the class Project
tab for feedback.
VICTOR JOSEPH
