Transcripts
1. Introduction: I'm welcoming you in my studio where I'm developing
a masterclass for you. From my experience,
everybody can draw, drawing the opportunity to express your feelings and ideas. My name is Marina strand Scott. I'm an artist based in Prague, working as a set and costume designer for
theatre, opera, and films. Since I was little, I want it to be an artist because my father
is an architect. And he told me that every
artist has to learn to draw. I realized that there is
a simple way how you can be professional in drawing and it doesn't have to
take too much time. The most important is not to be scared and improve every day. It is about observing the world, shapes and knowing
what we are drawing. I would like to teach you
how you can, for your hand, how you move your body and hand when you draw
different lines. And I want you to really experiment and not try
to be too precise. Live your pencils
through your body. That's the most important part. To learn to draw
is a lot of fun. So don't be afraid and I will guide you through
your first steps.
2. Motivation: Since I was little, I wanted to be an artist because my father
is an architect. And he told me that every
artist has to learn to draw. I realized that there is
a simple way how you can be professional in drawing and it doesn't have to
take too much time. The most important is not to be scared and improve every day. To learn to draw
is a lot of fun. So don't be afraid
and I will guide you through your first steps.
3. Profesional experience: As a costume designer
and set designer, I use drawing for
every expression. It's a way how I can
communicate with my director and
with the workshops. Drawing for me is that I am trying to put my
ideas on the paper. And when I put them on a paper, I can see them and develop them. So here's some sketches, a combination with a squirrel, that these are the first
visual ideas of one-stage. I make this kind of drawing
and then I developed them with the director in a
communication with the workshop. And then I work on a
technique drawing here, e.g. this is just a simple sketch
of a puppet character. Not really realistic or
not really proper drawing. But to make this simple drawing, you have to free your hand and your line and not be
afraid to make mistakes. For costume design, drawing
has to be quite realistic, but simple enough that you can do this sketch in few minutes. Because in opera you have to draw maybe 100 characters
or 400 characters, and it has to go quickly. So drawing is the most
important for artists who wants to communicate his ideas with the world and
collaborators. So better you draw, easy to work later. Here I want to show you the
origins of the drawing. So basically I'm
working with A3 format and I do the basic line of
the sketch, the figure. And then I work with a coral, which I will explain
you in another course.
4. Sketchbook: The most important for me
is to be motivated to draw. Under everything. It is about observing the
world shapes and knowing what we are drawing and
learn as much as possible about the
object we are drawing. So I have prepared for you
some of my sketch books that you can see and be
inspired by what you can draw. So here this little sketch book that I really love,
it's a sketchbook. Size of passport. You can have it in their pocket or any little bag with a pen. And that's enough
words you have. So here I have an idea of a simple sketch where
I'm working with line. And it's about
observing the people, how they're standing, and seeing some pictures
at exposition. And it's more about the
feeling of the figure, how they're standing,
et cetera, et cetera. Also, I have other books where I was trying to
observe people around me. This is from airports where
I was waiting for my plane. Here is some pictures
from a marketplace. So people in a cafe
and stuff like this. You can see that the
line is very rough and it's not always so important that the
people will look great. It's more important that on your paper It's a
feeling about them. Here. There is a great
character, isn't it? She's a funny character. So I was trying to shape her
nose and mouth few times. When you're a beginner, you don't have to start with
people because it's hard. So here an example is e.g. I. Haven't been on exposition
of some inch and art. So I was trying with
simple lines to, to note some ideas of masks. Because as a costume designer, sometimes you need this
kind of information. Or you can start with simple sidewalk patterns
or patterns on text style, you can collect little details, and it's just basically about drawing
circles and squares. E.g. here you can see
something like a storyboard of the scenes that
are changing and some basic ideas for Kraftwerk. Then I develop them into
a different drawing. So I will show you some of my travel books which
I combine drawing, pen drawing, and what to color. So here we are. This is from Spain, from procession
during the Easter. So you see that my drawing is really not
realistic and just, this face is quite funny. Or this phase or this face. So it's more about the
feeling that people are waiting in front of the
church or something. Little girl, man on
the waiting on steps. Also, you can use the mistakes that it happened
accidentally. So e.g. here, the pen I was using
was not really waterproof. So when the rain started, it happened this and
it's quite nice. I like it very much. Some people on airport sleeping, benches and waiting,
being bored. You can really observe anything. Look at the dog. It's not really nothing didn't few lines. But the feeling about it. I know that there is
a lady with the doc. It's just about breaking
the anxiety and don't be afraid that
anybody else will see it. It's just for you and don't show it to anybody
if you don't want. The last project I did is a
quarantine idea that I asked my friends to send me a selfie with their face mask that
they are using today. So these drawings are
with very rough pen. The drawings are quite quick. It's something in
1-5 min, maybe less. And I just go and use the photographs
of my friends The way how it is and try
to observe them. And from the drawing, you can easily see
their character. These drawings I will
probably use later on for my painting. Another idea for you is
that you can choose for this course to collect
all your development into one sketch book. Because you have to
sketch every day, but it's good to see
your improvement. So e.g. one day you will just do simple
drawings and it will, you will not like the page, but leave it there and
we can go back to there. The format of your
sketchbook can be anything. You can see this little
one or this one. Later on we will speak
about the materials and formats that you can and type of the paper that is
the best for you.
5. Inspiration: The most important is to educate your look and be inspired
by other artists. So go to galleries
and at the exposition you will always find
a section that there, even though it's a
painter exposition, you will always find his drawing section where
you can see behind his art. So I have prepared
some of the books. And I will start
with Albert deer, which is one of the most
academic way of drawing. So this is a ink drawing. And you can see
how he forms the, the face of the
lion by the lines. But also you can see that
the light is going from this side and the
shadow from here. So on the side where
the shadow is, there is much more lines from the site where
the light is. There is less. Most of his drawings. Pen drawing with ink or gouache. This is beautiful. This is a combination of squash. And in our grow. You can see already
that when he's working, he's doing his study, study of her hand,
different gestures. And he is playing with
the line of the hand. Try sometimes to sit down and
take a pen and try the way. What's the, what style you like if you want
to be working with little lines to create
the shadows or you prefer to sketch all know
with lines with shadows. So let's go and see other. One. This is a masterpiece for me. Okay? So black lines for shadows, white lines for light. And he is really like forming
the shape if it's round, if it goes out or n. So here you can see
really did it goes in. This is out. So the line is really showing us the structure of the surface. So that was dear. Now, I would like to
show you they go up. He is a master in
sketching life. So he always went to backstage of the theatre and he was
observing the valid answer. Here we can see this
is the sketch is really simple sketch where he's like I know of
studying the form, the shapes, the
volume of the skirt, the posture of the body to
feel where the legs goes, and what is the character
of the movement. This is really nice example
because when you don't know the object while
so you observe it as long as possible
and try different way. How is the best to draw
it and what posture and the line should be that
you'd like it the most. And then you can reuse it again. So as much as legs you draw, then it's not so hard for
you to draw it again. This is a nice example. So this is also like a
quick study and just like square paper sheet and just make the sketch because probably he likes to character. And then he transformed the
character into a painting. So probably he was not
even posing for him. I don't know. That was for
comparing e.g. Vanguard. He is real master of colors. And I would say that
they're artists who divide into two section and one there are more into colors
and painting and the others, they kind of have the
background in drawings. So you can really see
the lines are important. But in Van Gogh painting, you can see that the way he used the strokes of the brush, It's kind of like drawing really strong lines that he keeps in his, in his paintings. So basically he draw
by brush and paint the basic shape
and then he formed the whole painting with colors. This is his drawings. We can see probably the direction
of his future painting, strokes of the brush. My biggest inspiration
comes from NGO and Sheila. He's really confident
in his line. And even him, he started
with quite academic drawing. But he basically end up with his characteristic
line as this. And he probably goes
with the line and observe the character
he is drawing. And he's not really lifting
the pencil from the paper. You see that he's not
really using shadows. So he's kind of forming the
space only by the line. To understand that you
don't have to sketch as Michelangelo or
you don't have to be really into academic drawing. So I want to give you two
examples of Jacob Barclay. To be confident with the line
like poor clay or Matisse, you have to train
your body and hand. When you draw. You never
draw with only your wrist, but you have to move the
whole body and this you have to train and
develop so that you can, you are able to
do something very simple like book let
us check committee, I think it's a good
example of somebody who is not academic in drawing. And he's experimenting
with this line. Takes the pen and he
goes again, again, again over the line where
he feels that shapeless. And somehow it's almost like he would try to recommend to you the way how you should
observe his his drawing. It's like you find, like you see the nose and
there's many, many, many lines. And finally you see the red
line that it should be there. So you can choose by your eye, if you like, this loan, that loan, and somehow it keeps the drawing and the
character more alive. So let's go through this is
also drawing. Look at this. When you see it. Somehow you can even
feel that you can do it. Everybody can do it. Go observe the world and experiment with the
line that you like. I hope I inspired you buy
some of those artists. It is not so important
to draw as Michelangelo, but I will help you to
find your own style.
6. Materials 1: I have prepared for you
some of the materials that I am mostly
using for my drawing. But truly, you can choose
anything you like. You can try different techniques and then maybe you
will develop your own. So I will start with
a bunch of pencils. It doesn't really matter
from which company. These are pencils that I
just found at my studio. Every pencil always has
a number, which is here. It goes from b and
then it goes to f. So you can have eight B to B. Then you have H, b, which is between then those
age and then you go H1, H2, H3 till f. So f is the most heart one. So even if I press, it doesn't really go
dark, then you have H. And it's either. So you can try what it does. And I'm pressing
that quite strongly. Doesn't really get dark. And HB. Okay, let's see
what is the difference. Now I press quite. So. Notice can see that the
line gets much thicker, darker, and if you go over
and over, but it gets dark. But for this, you
spent so much time. So I would choose
three or seven, or sometimes I
choose B and five B. So it's good to combine
two difference. So this is freebie, me see, I press. And also it makes
really nice line. If I compare it with H, it doesn't really
do the same thing. So now we go for seven Bobby. Look how strongly you can even see the wood which
goes, which is under. Here. You see how the pencil gets
sharp just by drawing. So it's very soft and you have to cut it and
sharp it quite often. Basically, when I draw e.g. you draw a face. Now I'm using three dB. So it's simple to
make a quick sketch. And you can see that
if you are really not, when you don't press, it's really soft and then
you can press and it makes it makes darker
and thicker line. So for this, I like it because
then you can buy line, you can create the shadow. I will explain you more later. Okay, this is it. There are other
kinds of pencils, so I will go quickly
through this. There is mechanical pencil. I use it quite often
for my designs of costume because it's handy. It's when it breaks. You can have another bit in it. I always wear with me
extra filling also, you can choose the
thickness of the filling. This is 0.50, 0.7, and it's basically
the same thing. You always find if it's
HB or B or is it okay, So there's this HB and
this is how thick it is. And here you have to be sick. It's thicker. So this goes 07 and this is 05. There's another type,
this is really thick. It's good for big, big gestures. So maybe I will
take another paper. So if you want to do
like a cat or so, you can kind of
play with the line. You see I can kind
of do darkness. So if you later on
make the shadow, it's really thick and dark. So here you can change the filling depending on how
soft you want to have it. This one is smaller one. It's also really handy
because you can fill it really easily like this. And also you can
sharpen it with this. It's a check thing. Actually. You can, you can
sharp it this way. Like this by turning or
which is more practical, is it just shoved it by turning it over a paper
and it chirps itself. This is charcoal. So it's basically a coal that it has different
softness to. It can be brown, it can be very dark black, different kinds of browns. And it's really soft and it's
really good for big scales. And I started with this when I was studying
figure drawing. And we were drawing
one-to-one size of figure. And it's really nice
to play with shadows, you get really dirty. I will show you a little bit. It's just like if I
go to I don't know. You can you can play with
either you can paint by lines or you can play
with shadows that goes. So. Then you can kind
of play with it. You can paint, you can draw
with your fingers even. And it's really nice to try. And I will explain you more
about this technique later. Shadow and you can, then you can play with, this is a rubber
which is quite soft. It looks like this later on. Then in the eye, you can go back with
delight you're drawing. So from my experience, I don't really like
to use the rubber. So my teacher in the university, he is a piece of cloth, so he always say, Okay, just clean it and start over. So you can, when
you observe, again, it can be maybe more
precise because you see the painting or drawing
which is under. And you can be more precise. So there's many way
of how you can, how you can work with charcoal. But I kind of like it. This is really big. So you can, if you want to see and then you probably have to go
and wash yourself.
7. Materials 2: Now we go into a section
of pen, markers, markers, ink and brushes. So even with brushes, It's not painting, but
you can draw with them. So first I start
with classic stuff. So here we have some black ink. I prepared pen. You can have you can
change those ends. So this one is, it's
bended, this is straight. So you can try different lines. Let me see. I can show you. So if you want to draw whatever, we can draw a person. This is a bamboo which is cut it here and then in the middle
that it keeps the color. I like it. This is for very
precise detail work. Sometimes I'm not really
happy with the pen because it gives too much
ink on my, my drawing. So I'm not always
confident with the pen, but as much as you train, maybe somebody prefer it. But the bamboo, I really like it because it gives nice big lines. You can use it this way or you turn it over and
it can be like this, then you can work with the different
thickness of the line. Also, it's quite confident four, I don't know any kind of
like when you draw a tree, it keeps the ink
inside quite long, so you don't have to
go back there and back all the time and
fill it in color. So if you draw a bear or
something, it's quite fun. If it's a very dark. So it's quite quick
to use this. Funny. Ten. There's existing another
type of the ink technique, which is with brush. This brush is really
nice because you can have the ink inside. Mine is dry, so I will
use the ink from outside, but the failure is really
nice and it makes nice lines. So I will just show
you how you can, and I will draw the, my friend behind the camera with his mustache
so you can have nice soft, simple, small lines. But also you can go for
big lines like this. And still I would
call it drawing because it's more about
lines than colors. And it's like this, really like this
character of the line. You can even do
very small lines. Sometimes for details,
It's really nice. So when you have a
nice simple lady face where you don't need
too much lines. It's perfect. Then you can make her hair with a big strokes. Now I would like to show you a technique how you
can use markers, but to combine them with pencil, I will start with dose. It's a mini marker
which has 0.7 and 0.5. It's really small,
line, really fine. This is quite bigger. Just see how it is. Then I prepared for you
this permanent marker. It makes a really big for line. You can use it for shadows
or stuff like this. Then there is a
different markers. They have different
transparency. They cover differently and you can choose there
are many colors. So I just show you
the line, they have. Finer line like this. It can go very small
or it's like this, then you have this one. So it's this or this. We will start with a pencil. And sometimes you
don't have time to draw somebody
for a long time. Maybe he's walking on
the street with the doc. So you just have a quick look
and you just remember tiny, tiny picture in your head. So you just put it on a paper or maybe you're just watching
him for a second. So let's say there is a
man walking on the street. He has a head or something and he's kind of walking a dog. And the dog is just jumping, goes like this and he's
flying a little bit, maybe he's falling down. And so you make lines
that they're not really, you're not really
sure where it goes. You can repeat them a little
bit like Jack Ahmed who is searching the line.
So we go like this. So we have a man flying
behind his dark. I don't really use
rubber because I feel that when you put the rubber in the picture,
you just destroyed. So I would recommend you not to use it and start over again. So don't worry and just, just throw it away. Then I would recommend you to use another market which
is quite transparent. So you can form a bit more. The shadows lie. Maybe this figure, you can be more sure
about the about the volume of the leg if
their muscles are not. And maybe there is
a face like this. And, and there's doggie. So I can repeat it, but also make it more confident
in the form like this. So then either we can go with this big marker or we can go with darker marker, or we can go with lines. So I would go for a bigger
one, maybe this one. So let's say this. There is probably a shadow under the dark shadow on
there, the man. And you go like this. You can use this then. You can say, let's say there's
a shadow under his hat. There is the shadow
and the dark. Shadow.
8. Materials 3: Now we will go through some
of the types of the paper, some of these sketchbooks and sizes and formats you can use. It really depends on the
place where you're working. If you're going out there and
you're sketching in a cafe, or you want to carry your
sketch book in your pocket. But if you're working at
your studio, is your room. You have your desk. I would suggest you for
the beginning because you don't want to waste
too much sketch books. Sometimes there can
be quite expensive. So I would suggest
you wrapping paper. You can buy this paper
online very cheap, and they sell it for
nothing in hundred meters. So I suggest you to use
this and you can cut any kind of format
you, you feel like. So from this paper, I cut with a knife. This kind of format. But you can, the best way
how to cut it is to bend it and make sharp side. And then when, when
you have the knife, you just cut it out like this. So this way, you can have
nice size of favorite, this is something like 8483. What I would say about
this kind of paper, it has two sides and each
side is a bit different. One is more like slippery, glitchy, and the other side
It's like Harry and rough. So I like to draw on the
rough side with pencil. And the other side, we can use the charcoal. And it's really nice and
it's kind of slipper. So it's really useful for that. And it's also easy to
clean out the pigment. You can start over
and over again. So it's really good for
practicing your line drawing different
materials and you can, you can just throw it away
for your first steps, I would suggest you in this course to choose
one sketchbook. Because even though you're
just training your lines, It's really nice
to keep your past. Have you developed? You can always go back and
I suggest you to keep it because in another course where we go through perspective
or figure drawing, we go back to the mistakes
that you did before, so you can have the
possibility to compare it. So here we have
different kinds of companies that they
have sketchbooks. It has really nice paper. It's easy to take the paper out. And I like it because it's whiter than
the wrapping paper. And also it's quite hard. So even though if you
sketch with marker, it doesn't really go through. So it's nice paper. You can even have it
to open it this way. Or they have another
one like this one. It's really nice
because it has like 100 sheets or
something like this. It's basically the same thing. And you can roll over, which is practical because he couldn't even keep
it in your hand. Or you can put it on a table. So this is it. There are different formats. This was a four, then some, for some
bigger sketching. Or when you go to
learn perspective, I will suggest you to
work with a three, and it's quite Hindi, but A4 for this course
is just enough. This one is nice format. I really like it. It's a square format. And what I like also on this
is that it's the paper. The grams are kind of it's
bigger than the previous one. So it's much sicker
and you can go, there was a coral or it doesn't it doesn't go through
or destroy the paper. Now I will show you a difference between some of the sketchbooks. I don't really
suggest you to work with notebooks
which are made for notes because the
paper is too soft and also don't use
lines or squares. Anyway, if you want to
practice in New York, I know you feel that you
would waste the paper. Sometimes what I'll do is
that I use old diaries like ALT agendas that I had I didn't filled or
I felt just halfway. So even though you wrote
something there, you can, you can go over with marker or you can even draw over and
you practice your lines. So sometimes it's good to
recycle the old, old books. Then you have different
size of sketchbooks. Basically they have
the same paper. It's not so thick, so be careful if you are
willing to work with more ink. The ink because it's wet, it goes like it goes through and it's not keeping
the paper flat. So for this kind of technique, I would suggest you to
go for e.g. Moleskine. They have acquired a paper which is much
thicker and you can go and mix technique of pencil
and ink and watercolor. You can see it's really thick. I really loved Moleskine
format of your sketchbook. I would leave it on you, but probably for this
course we go for the format of passport size. But just to compare it with
others and why it's good to have a bigger format
for some things and smaller for a month
for other things. I will show you these two
sketchbooks and here e.g. some of the people they
really like square format. You have different size
of the square format. So it's really up to you. Here. I would like to explain you that the bigger sketchbook is good when you want
to go into details. And the small size, it's probably more about lines and feeling
about the scale. And it's more about
the composition. You can see that the sketch is much rougher and
it's not really, it doesn't go into details
than in the other one. So you can see I really go
two small faces here, e.g. this is just like just the
feeling of the format. I, sometimes I use two pages
to make a landscape size. So it's really up to you. I hope I helped you to
choose your sketchbook. And now we go for the
first exercise in drawing.
9. Drawing lines: In this exercise, we will
use only simple pencil. I use six or seven maybe. And freebie basic pencil. Or you can go for
this kind of pencil, which I use b or b to 0.7. In this exercise, I would like
to teach you how you can, for your hand, how you move your body and hand when
you draw different lines. And I want you to
really experiment and not try to be too precise. Live your pencils
through your body. That's the most important
part. So let's go for it. First. The most important is how you, how you catch the pencil normal, normally, when we write, we write this way so we
hold it quite tight, close to the end, which is not really good
for drawing because then you don't have
freedom to move. So when you sketch, basically, I hold it here. Sometimes hear some people draw it this way when
you want to do shadows. So it's up to you. Just train it and try your trie. What is the best for you? So first of all, we just go and try. What is good for us, how to hold the pen. Like this, this is
too far for me, so I would go for this. Just go like this. I would say that for me, this is the best way how I draw. You can try it
also with this one because it works
a bit different. You have to be softer because it breaks if you push it too much. So go for it. Sorry. Go for this one. Probably it has different way of possession of your
hand, the pencil. So turn it over. Now we go into lines. If you want to make
a straight line, you have to move all your hand. You can't just go this way. It's impossible. So you go basically
with the whole body, just do a lot of lines and try to be
as much precise you can that the line is as
straight as possible. You can try to draw
different size of lines. Later on we play with that. Okay. When you go from top-down, we can move the hand. Sometimes I even
work with my buddy. So you see how I move. Then? You use your wrist
for curves like this. Try many times to
work with this. Now we go for different curves. So when you see my buddy, I kind of live with the line. It's like dancing. Okay. Let's move on. Now. Let's train again some of the lines and make every
line a bit different. In this exercise, I
want to show you that you have to train your eye
to be able to divide lines, tried to feel where
the middle is. And you can even use the
ruler to see if you fit well. Okay, that's fine. So try to divide
every line on half. That's what we tried to do. You always have to
separate the line and see if the size of it the same. So this one is not
correct, so probably here. Then. Let's divide it on quarters
like this or this one. So let me see where
is the middle? Middle, middle. We can even divide it
on age eight is really important because all the figure is divided by eight heads. So you have to be trained on dividing clients because it's always happening in perspective. When you draw perspective, e.g. you have to be able
to divide it always. So e.g. if you have something
like this in a perspective, then I need to see that e.g. this is the end. Now I have to feel the middle, each line, which goes into
the perspective like this. Let me show you also
to divide on three. Let's go on like this. Three. You can even do some measuring with their hand
or the pencil this way. Okay.
10. Drawing geometrical shapes: This exercise is focused
on circles and squares. You basically start to move your hand like this
in the size of the circle and then just
simply touch the paper. Then you can go a bit
harder when you feel it. And then probably you can
make it even thicker. So you can go this way. You make two lines and then you put a point which is the same
distance from the middle. And you draw four
points and then you try to connect it with Kurt. But then anyway, we just keep rolling and it's circle
like this. Let's train. In this exercise. I want you to learn how to draw different
geometrical shapes. So we start with square, but we go rectangle
and others, others. So just try to make a
square hearing a straight. Just do it again. So you see how my posture
of the hand change. So you can also try
to do it this way. There's many way how you
can make a square root. So you can try to do this. Measure that the middle isn't a half and then you
can connect those points. Something like this. Let's go this way. So it's about learning straight lines and train your eye that each
line is the same size. Which looks very simple, but sometimes it can be tough. Then we go to strangle the same. You can have three
fines and just connect them with
a straight line. Again. Again. We can make six binds
and we go into this. We can try to put some
middle like this. Then you can do
another training, which is try to go one line,
change the directions. Good training. It really looks simple, but it's not really simple. Go this way and try to be as much straight It's
possible which are not. This is why, why I'm doing this is because when
you draw any object, it's always shaped by
some geometrical shapes. So I will start with a bird. Let's say that where
it has a head, then you have another German two equal
parts, which is here. Then you would say that probably here there's something like another shape than it has wings. Probably there another,
another shape. So you can try to train your eye and in different
objects, geometrical shapes. So if I would go
further with a marker, you will see that I
can use this basic for much slate mind. But geometrical shapes helped me to build the
volume of the object.
11. Drawing shadows: In this exercise,
we will go through shadow drawing and we'll
move into 3D drawing. I have prepared for you
this kind of mood, an egg. First of all, you will just
try to draw the basic shape. So when we have
something like x shape, there, two lights which
is hitting the egg. I would say one is
going from here, dunk, and it's hitting it here. And then the other
one goes from there. And it hits here. So this slide is
making the shadow. And then that light is
making a smooth pseudo. These two shadows, they connect and there is
the darkest point. So when you draw this, you kind of create
a space around. Where is the light
most intensive? Which is probably here. The other one is somewhere here. Then we find darkest part, which is under the Act, where the two shadows meet. We didn't have to
make the shadow so intensive Just a little bit. It doesn't have to be fill it. Let's play with it and
observe the object. I wanted to explain you to understand how the
round shape works because when we go into figure drawing or
any other objects, you will basically
work with this. So let's go into
square root object. I have this, another way
in which I put like this. So let me see, I will draw it like this. I don't really want to go
into explaining perspective. Now, when we observe
this square, there is three sites
or sites I see 123. And from here I can feel
that the most of the light comes from here and
it's hitting very strongly on this edge. So this side is quite strong and this side
is the darkest part. So let's say just simply, we can fill this one. Dark. You can be more precise than me. I just do it this way, just simply to
explain how it works. This one, somehow, there are two lights going
there, but for me, for my site is not the
most lightest part. So let's go to this. Then. I feel there is one light from here in the outer
light from here. And we can explain how it works. So one is from here, one goes from somewhere here. So when you imagined that
there is like a lamb standing, it would go make
a line like this, and there's another lamp. The lamp goes like this. Let's say this is a table. This is the floor. So when you hit I
guess like this, when there is this side, go from here and it hits
the floor somewhere here. So if I explain it, well, there would be the
shadow until here. This is really technical
way how to explain shadows. This one is like very long, so it goes to here, but it can quite see it. It's like it goes still
here and it goes to here. It's not square it
because it's diffusive so you don't have to have
super straight edges. Okay? Here I will explain
why it's so important. So e.g. let's see a face. So basically a head of
a human, it's round. I will explain much
more precisely. Why I'm explaining
it with shadows is that it's really important to see that you have the
light which hits my nose. And then I have
shadow under my nose. Or I have very much light. I'm on top of my eyes and
then under its shadow. So it's always like eyes is only another egg or a bowl
or something like this. My head is round as eggs. So why it's important to train this is to
see the shadows. So this is the way
how the light goes. So probably this will be light. But behind the nose
it will be dark. Dark. So you can always find the line of the shadow in the object. One size side of the
face is always darker. Shadows are important
because it gives the drama to the object
that we are drawing. Okay, I hope I helped you to understand a little
bit of drawing shadows. But please do not go into finding the shadow and building your
objects through shadows. That's quite an academic
way and I would suggest you to go
for line drawing.
12. Drawing measuring: In this part of the course, I will try to explain
you how you can measure objects in space that you are
trying to put on a paper. Maybe you know this
typical measuring. It's a typical gesture for
artists, which is this. What does it exactly mean? I would suggest you to work with something which is longer, maybe a long brush or
something like this. If I go to the side. The most important is to
have keep your arm straight. You don't bend your arm. That's one of the things. When you don't bend it. The other important thing is, did you keeping
one flat movement? It means that my movement is not this way because when I'm trying to put
something on a paper, it's a 3D object. When you see this,
it's a 3D object. But basically final result
on a paper, it's 2D. So why I'm doing it? So let's see. If I'm like this, then
I move it this way. I'm pair of imagining glass
or window in front of me. So let's go to a smaller
object like this toy. So to understand this
and train your eye, I would suggest
you to make frame. So you bend it twice. And then let's make a frame. Just as kind of a
window like this. So now you see me in a frame. So I place my
objects into frame. And what I'm trying
to explain is that this paper is showing you
how you observe the object. So the, the the direction of the measuring should be straight and I place it
in front of my object. So sometimes you
can do this also. So my measuring object is
keeping this digression. So let's start with this one. Why we measure? It's because all drawing
is about observing. So basically you're trying to observe in which direction
the lines girls. Normally, when you're
trained and developed, sketching, you don't
really need it. But sometimes you go back to it because you don't
really need your brain, doesn't catch it. With this object. I places like this
and why I use it. I want to see where is
the bottom of the goat. Then I need to know in
which direction it goes. So I measure the ankle. Then go goes like this. Okay. And then I measure
where the from the eye, which is somewhere here
to one of the feet. So it goes like this. It goes straight. You can see it somewhere here. Then I want to see
where's the other ones. So I measure it and I put it on the paper and
it goes like this. So try to find then
you can measure, you make line between
I and the feet. One. And when you measure, you can kind of feel that it's
in the middle where there, so let's divide this on metal
and then you go like this. So there is probably nick. Then we can find other elements which
are geometric elements. And we go further with
the shape of the goat. There's a rectangle like this. Then there is another one. So you try to build
the form of the body. This is like this. So then we know that the bottom is something
like a wrong thing. Then we have the
valley, it's like this. Then I can remember that. It goes this way. So I'm not trying to do it
too realistic for me now, it's important that
you learn how to see the shapes and lines, how they go if it's going down. So now I'm looking
for this feet. So I measured this and
I put it like this way. Okay. So there's another little one also. So it's not precisely the goal that standing
in front of me. But I wanted to
explain this example, how the forums works. Okay? So now I would
suggest you if you want to, if you didn't like your drawing, you can see the final lines
with something bigger. So try to observe
the object again and make the lines
less geometrical and more natural for the
character drawing object. You can kind of repairing
it by how you feel it. It doesn't have to be always the same angles to choose
to put on the paper. Okay? So there is, there is a line. So what is important? That's going well, okay, so now you can add some
shadows if you want. Really dark. So what I was trying to show you is that
I was measuring this line. Also. I pick I and I went down, I realized that it goes
straight 90 per cent here. Then I measured
this, this lines. So it gave me some idea
where the object goes. And you have to
understand that here, the bottom of the gold is
somewhere over this line, so it kind of build it. And then you have
this shapes round, then there's smoke around. Then you have an egg, egg, then you have this shaves
and this shapes like this. This is probably the one way how you can train this is
also you can take a picture of some animal or
object and you will try to draw over this, this
geometrical objects. So let's see, let's go
over another exercise.
13. Drawing exercise: In this exercise, I will
try to explain you how you can form and
draw your object. The first one, I want you to do, observe the object very precise. You can go to
Details and you put your timing for 10 min max, but even five-minutes, then
you observe the same object, but maybe you can
turn it a little bit so you can see
another ankle. And you will try for 1 min. And probably we will try to start with lot of
lines, this pencil. And then we go over
with marker or ink. And the last one, we will go for 30 s. It will be very quick. So it's good to build a volume
with some bigger scale. So I choose this marker
that you can draw over. So let's go, let's go
and see how it works. Okay, 5 min. There is one. So now move it this way, singly and we go from
1 min. For that. What did I say? I will use some ink as basic. I will do a lot of
lines with this. It's a bit like style
of documentary. So let's try to form the
volume with a lot of lines. It's not about
geometrical shapes, but it's more like trying to line over and over and
over and over again. So let's go. You have to be
quite quick because when men, it's really not a lot of times. So we can see that sometimes I'm
keeping my pencil on the paper so it's like still
forming the whole objects. So we're on 20/32. Now, I take this and
let's please seconds. Okay, let's go there. Good. I think it's there. Okay. So 30 s I'm not I'm not really able to
draw it, but let's try. But I will explain why
this is really important. This exercise makes you, you can see on this picture
that I would really focus on details and it
didn't work for me well, then I was kind of getting angry and I'm focused so
much on details. And sometimes you can be so frustrated when you
start to do this. You know, there is no time. And what is nice is that your lines are
starting to be more, much more alive and your hand is starting to
work with your brain. And I, and you have to, not to focus so much on the
line that you're doing, but on the shapes they're
just appearing on the paper. In this last exercise. I'm really not sure how it
will end, but let's try. And I will see with this
marker probably one, this one. Okay. Let's go for this one. Maybe it's good to do like this. Okay. So now you give me a second. This was 1 min. This was five-minutes. So even though it
was very quick, I'm quite happy
about it. This one. It's a good exercise because
sometimes when you walk in on a street and you really
want to put some ideas, some situation on the paper. People who are moving
and you don't have the time to observe them
for such a long time. So this first one, it's good for objects
that are static. And these other two
ones is good to train your hand and make your
hand free and lime free. So I hope you enjoy it and I'm looking forward
for your experience.
14. Final project 1: We're going into
a final project. I have prepared for you, an exercise that you
will carry with you. So choose your sketchbook. Don't choose it too big. I choose one of size
of forest floor. And now I will tell you what we will do in this final project. I hope that you
enjoyed the course. We went through some
lines and basics, but don't go into too
much measuring, train it, but then forget
about it and try to observe the world and try to put it into your sketch book. Why I'm choosing a sketchbook? It is really nice to keep all the development
of your ideas, of your observation
of the way how the lines are
developing in one book. Because you can go
back to this size. It's nice because you to go into much details and I think that
the tests can be stressful. So now let's get
into the exercise. What I really want you to go out and choose a spot
in countryside or CT, can choose some street
corner, maybe some cafe. I don't know. Whatever you want and
try to draw it on for five-minute other one for 1 min and the last
one for 30 s, e.g. this one, this is more detailed, more minutes or more seconds, and this one, it's very quick. The other exercise I want you to train to choose
different materials. One, probably we
start with pencil, this one or this one. Then we will go into
some basic like this. Maybe a marker that I
have explained to you and then you make the
details with this one. Probably. I don't
know what Islam e.g. so I form that, I am trying to find
the form of this mark. You make something like this. And then now I see the lamp and it's very detailed
so you can make some maybe don't
worry, it doesn't. Just the CMA of objects. This is also the way
how you can do it. It's not the main line. Shadows. So please maybe choose object and you can be at home and you can even draw a chair. Chair now so I can show
you another technique. So e.g. we go into
Jekyll method one. So I see a chair. I'm trying to just feel and you didn't
have to be so precise. Perspective, just
feel the object. I think like this
can be quite hard. Inventions that there
is a line on a chair. So again, they can go
is a bigger marker. Now, choose the lines. Therefore, you most important. So my goal is that you are not scared to try
different techniques. Tried to draw, even if you're not really sure about
your lines and hand. So three objects and each object do it was
a different thing.
15. Final project 2: The last exercise
for the sketchbook is that we will try to draw from a photography
because not everybody is enough confidence
to draw from life. So I will suggest to three way of drawing
from photography. I don't really want to go
into detailed drawing. That's why I choose
so the format. First, we will start to divide the photography
into composition. So let's see what we have. We can still use
this for measuring. So there is this figure which is basically
standing in the middle. So let's say here. And we have similar distance
from top down, let's say. Okay. So let's say that in this era, we're creating the figure. And the figure. It's something like this. But then we can go
into another shapes. So try to form decomposition. So now we can work with Mark curves to the
darkest part of the sketch. It's good to close your eyes. You can slightly see the picture and copy the darkest points. See that this flower here. So now we can go
back into pencil. The pencil, you can
see other details. It's also not so dark, so let's try the parts
which are darker than y. Let's still not too dark. Dark gray. Okay? So this is the first exercise. So this is much detailed
painting also where this night is that I can
see the previous painting. You can work with that. But we keep the same lines, C or the skirt. And here, basically this is divided on three
similar parts. The first part is we
go from the waist, so the head, the head. Then we have the skirt part. It's quite simple. The skirt guard because it has this better shape and
it's divided by one-half. Then the last part is, now I'm trying more, not going into volume
but seeing the shapes. So this is the shape which you
so much gentlemen, triple. Here we have when
geometry go around. Another one, shape of head. There's another around. Here. We have something like this. Now we see the surroundings. So there's this position. That's another exercise for
drawing from photography. And the last one, maybe you choose
the smallest bit. I would combine it with
the detail of this marker. And you can also use
the rubber if you want to delete some lines. So let's go on. I work with this pencil like
Jack committee technique. So I'm building the
volume with more lines. And then I am choosing the best line from
it by the marker. I made it a bit bigger
than the previous one, but let's say that this same figure, but it doesn't
really have to be. In this course. Forget about flow is much more lines in this where the shadows. Okay. Here we go with the marker. Now, I'm observing
much more precisely the objects and I'm trying to capture the
character of this. But I'm choosing for the
lines that I already made. When here, the legs. Now you see how when she
has some nice shoes. Then choosing each line. We can go further and further
with this detailed picture. But I don't want
to go into that. But what I wanted
to show you now, when it's dry, it's dry. You can see the background. Is the silhouette can go out. But now you take the rubber, that's the only time you use it. Help you see what you have been showing your
marker. I mentioned. Okay.
16. Epilog: Now I want you to play, Go out and I try to draw
some objects like this girl, or tried to draw your
cat or anything else. So I hope I have inspired you enough that you
will start to draw, because everybody can draw.
Marianna Stranska, Stage and costume designer
