Gesture and Figure Drawing in Black and White for Beginners

1. Introduction: Okay, So in this figure drawing class, in this figure drawing class, we're going to do a lot of exercises to get us ready for figure drawing. So we're going to use them. Pronounce, you can print them out at your home. And we're going to learn about the line of action, which is the line that goes through the body. We're going to mean for shapes for the torso in the pelvis. And we're gonna be able to find the direction of the arm, the top of the arm, the bottom of the arm, the top of the leg, the bottom of the leg, the hands, the feet, the neck and the head. We're going to spend a while working lameness, this looks like the SEC figure, but this is how we're going to start out and we're gonna be breaking the body up into shapes. Then we're going to learn that proportions of a Standing body. It's just one method to use. We're gonna do some quick gesture drawing, which is quick sketches of the figure. Then we are going to learn about foreshortening, which is where certain aspects of the body seem shorter because they're in perspective. Like if someone's sitting right here and there legs are coming towards you. The calf seems long and the thigh seem shorter because it's foreshortened. So there's a couple of methods you can use, will learn about those. We're gonna practice drawing Arms. We're going to practice drawing Legs. We're going to practice drawing Hands. We're going to practice drawing Feet. We're going to practice drawing torsos. Just so you can kinda see the bones and the muscles through the skin. And we're going to actually do some figure drawings. So He's or longer figure drawings that all that practice was helping us get ready to do. We're gonna do one on black paper where we're adding the middle values and the lights. We're gonna do one on gray paper and where we're adding the dark values and the light values. And we're gonna do one on white paper or we're adding them mediums and the dark 2. Lines of Action over Drawing: Okay, So to start for figure drawing, I actually, one thing that I recommend is that people draw over handouts, black and white copies. What I have here is a couple of Renaissance copies, copies of Renaissance figure drawing. And this is just to get started, especially if you've never done it before. So this is a practice exercise. You can print them out on your computer or you can get a magazine and make copies. They don't have to be renaissance, but figures in different positions. This is going to get started. So when we start figure Drawing, we break it down to really simple things and then we get complicated over the simple things. The first piece of vocabulary that you want to know in figure drawing is the line action. That's how you're going to start your figure drawings. The line of action. Just going to focus this. Well, the line of action is imagine if there's a spine and a person and all the way to their head and all the way down to between their feet. So it's an imaginary line that goes through the Figure and it's telling us the direction that the figure is standing. And I'm just gonna go right through the middle of this figure. Here is the spine. And I'm trying to see how it goes here. It's going gonna go through the legs. I'm gonna go in-between the 2 ft. Okay. That's how you're going to start. And this is a great practice exercise, especially if you haven't done figure Drawing before. Then I'm going to make a line from shoulder to shoulder. I'm going from shoulder to shoulder. And then I'm gonna go from hip to hip. So we're really wanting to see if these lines are straight or diagonal. Okay? Then I'm gonna make a shape for the torso. I usually use a trapezoid, but there's many different things you can use. You can use a circle as well as shape for the pelvis and oval for the head. And not even not kind of weird. Simple stick figure shape is getting less a direction and a gesture of the Figure. So I'm going to make a circle here. Circle at the elbow. And I'm gonna make a line showing me the direction of the upper part of the arm. And I'm gonna make a circle for the hand. And I'm going to make a line connecting to the circle. Then I'm going to make a shape for this part of the arm. So basically, when you get started and Figure Drawing, you're wanting to break up the figures into simple shapes. If you can see it that way. Then you can draw the Figure over these shapes. Right now I'm doing it backwards. I'm doing it in an opposite way. Then you would do if you are drawing, there's like a finished drawing and I'm breaking it up into shapes, but that's how you would do it if you are looking at a model. So I'm going to make a for the neck. Then I'm gonna do this elbow. And I'm going to make a shape for this part of the arm. It can really see the other part of the arm because their coffee is so light. I'm gonna do the same thing with the legs. I'm going to the knee and then making the shape here. And then I'm going to the foot. And I'm making the shape. Then I'm going in making a shape around it. So I wanted to get this line for the direction of this side and the cap. And I'm gonna do the same thing over here. And the oval for the footage showing us how it sketching how the weight is and what direction the foot is going. And then I'm gonna kinda make a shape right here. And there's more of her clothes out here, so I'm going to do that. So you can see her Figure through her clothes, shoes, clothes. But what I made here, let me make a shape right here is basically a thick figure, but this stick figure is showing the direction or the gesture of the Figure, how it's Standing, how parts of the bodies are kind of pivoting in different directions. And if you have this first before you try to draw a figure, then all you need is your detailed drawing skills over that. And you're going to have a great figure drawing. I'm going to try one of the babies. So there's two babies here. So I'm looking at guys head and where I think his spine would be. So this is a line of action. And again, you're imagining that this line goes through the entire figure from the head in-between the feet. Then I'm going to make a line from shoulder to shoulder. I'm just seeing if it's straight or diagonal. Line from head-to-head. See those two diagonals. Like this seems very juvenile, but these two diagonals are going to tell you a lot about how the figure is standing, where the weight is. So since this is down and Mrs. up, this part of the body is compressed and this part of the body is elongated. You don't have to know like every detail about that when you're starting, but just something to keep in mind. So I'm gonna make a shape for the torso, shape for the head. This is a drawing by Botticelli. We want to try this one. Shape for the pelvis. Then what's hard about this Figure? So this is kind of an easy Figure to draw because it's just straightforward. But here we have a lot of overlapping. This arm is overlapping the torso and this leg is overlapping the back legs. So that's gonna make it a little bit more challenging. So I'm gonna go here to here and find the direction of the top of the arm. And I'm going to find the direction of the bottom of the arm. I'm going to do the same thing here. Okay. So take your time doing this. I mean, if you really wanted to get good, I would do about I would start out with about 20 of them, which will be a little bit time-consuming, but it will help your drawing skills. So here we go. And then this link is behind. There we go. You see a lot about this figure as well. Now if you wanted, you could erase the overlapping lines. When you do this, when you're starting an actual figure drawing, you would do it really light. And then the drawing would be dark over this. You would erase it. So you wouldn't see it. But here is, I'm doing it opposite just to show you the process. Okay? So this is Michel Angelo. I'm going to turn this around. This is one of his paintings for the Sistine Chapel. So this is the Sketch and this is the actual painting. I'm gonna do this one. I'm just moving my terribly, sorry. I'm gonna go from the top of the head through the body. And I'm imagining that it kind of shifts here. So this is again a line of action. And I'm gonna go right down in-between these two legs. This is a hard pose because Figure is twisting. So actually the spine is more over here. If I wanted to kinda do it really correctly, I would put it over here. So this person is twisting. So here we're seeing the back. And then here we're seeing the side view. So that's gonna make a drawing more complicated. A line from shoulder to shoulder. That's a diagonal line. A line from hip to hip, I'm imagining. I'm gonna make a shape for the torso. I'm going to make a shape for the hips, a shape for the sign, and a line for the cab. An oval for the foot in the direction for this though in a shape for the task. And then I'm gonna go from the knee to the foot. And oval for this foot. Okay. So the ovals for the footer, again telling us the direction is either going in, I'm going to make an oval for the head. Circle here, a circle here, a line and a shape. The line is just to help me get the exact diagonals. The direction shape here, circle here, circle here, to a circle here. And there's my, Again, the middle line is the line of action. And I'm breaking up the parts of the body into big shapes that I can draw over that are telling me the directions that those parts of the body are going into. I'm gonna do a few of these for this. This is again Michelangelo. This one is quite a hard the vocabulary wanted to introduce here before I do this is foreshortening. So if you go from kinda like this sine to the measure that and then come out here about that long, right? This is the same length I'm measuring, so it may not be exact. So this from the knee to the foot up if I come in, would be the same length, right. If it was straight. But it's going back in space. So it's in perspective. So it's called for shortening. I'm gonna do a whole video on that, but just to get you familiar with that term. So parts of the body are foreshortened if they're not just like you're not looking at them straight. For example, if you are drawing someone sitting in a chair and their legs were coming out straight towards you. You take calf would be regular length but the phi would seem a lot shorter. Then it is because it's at a different angle and it's in perspective. There's a couple of different ways you can do foreshortening, so I'm going to handle that in another video. Right now back to the lines of action I just wanted to do. Notice that this is about half this. Depending on the angle. It could be over here or over here, right? If it was more out, it would be over here. If it was more back, it could be over here. So foreshortening is a bit of a challenge in drawing. I just wanted to introduce that because this is a good example. Now back to the line of action. So here's the head. If I'm going through his spine, I'm going right here. And in-between his legs, right. But this is a really odd pose. So close like this would be very challenging to draw. So now I'm going from shoulder to shoulder. And from head to head, they're both diagonal. So I'm going to draw a shape for the torso and a shape for the hips. Then a circle for the head. Now, look at how Stream All these parts of the body are compressed and on top of each other. So I already could tell this would be really hard drawing. I'm gonna go to the arms here, get this direction, this direction. Nika shape for this. And make the shape for this. And a shape for the hand. The top of the hand, like this part of the hand here is foreshortened as well. And I'm gonna do this hand shape for this. Now I'm going to go to the leg. So here's this part of the thigh. This is going back and space. Sorry about that. Which is going right here. A sheet for this. I'm so sorry about that. Okay. So there's my shape I can hear. And that will be a very challenging drawing. So now I'm going to go to this one, which is another Michelangelo. And I'm going to try to find the line of action. So I'm going straight through here. And in-between your legs. I'm going to go from shoulder to shoulder. And from head-to-head. I'm going to make a shape for the torso, oval for the head. I'm gonna change this line for the hips to a little bit more diagonal. And of course I'm kinda guessing because the person is under fabric, right? But I'm guessing from what I see. Okay. Then I'm gonna go from here to the knee. The knee. And then I'm gonna make a shape right here. A shape right here. Then this knee, this is sitting on top of this nice I'm guessing about right here. The shape. Then I'm going to move on to the arms. So here to here, here to here, here to here. Shapes for this. Shape, for this. Now from here to here. And here. And shape presents a shape and shape for the top. Okay. So there's kind of on breaking it up into shapes before I draw it. So if you have a good, let's call this a stick figure, then you're going to have a good drawing. Here's another one that's mostly under drapery. But I'm going to go from here down and shoulder to shoulder. I'm imagining the diagonal hits the hip and then imagining another diagonal. Again. These two diagonals tell us quite a bit about how the figure is going to, to room to hang on the spine. So shapes for the torso, shape for the heads. This leg is behind, I'm guessing it's about right here for the line. But it's behind it, overlapping and here's the foot. I'm going to look at the arms. There's a shape for the arm. And Which is behind, again, it's behind drapery. So I'm imagining the shoulder to the about here. The elbow to be about here. Yeah. And he probably be a little bit fatter than those shapes, but that's my line of action, six a year. And you can also do it with smaller parts of the body. So if you're really having trouble with Hands, you can do it as well with hands. So you can go right through the middle of the hand, right? And I'm gonna make a shape for this. Here. It's kind of a line showing me what direction that is going in and oval. Then when you get into the fingers, the fingers here, the fingers are not always bent, but if they're bent, they're going in different directions. So here they are bent. So for the nuchal line through the middle, another circle where there's a joint showing me the different directions. So there's one sheet, then it's going in a different direction. There's another shape and there's another shapes. And seeing here. Okay. Then here's another one sticking out, so shape here. But if you're getting the shapes in the right direction, then you're gonna be able to get your hand Correct. If that makes sense, I can't really see this little piece right here. I think it's like there. Then here again. Then a shape right here. Shapes for this and a shape for this area and not to your start of your hand. That's kind of how you're sketching it out before you try to dry. Then I'm gonna do one right here. A line here. And again nuchal line. Looks like there's two parts right here. So this is something for you to practice just before you start trying figure Drawing to get really good. Okay. So again, that one was to show you could do it with smaller things then the whole figure. And sorry 3. Proportions of a Standing Figure: Okay, so here I'm gonna do the proportions of this dancing body, which would be eight heads. So it's only if you can use this as a measuring tool, only if the person is standing straight up. Like remember in the portrait there was an in between the eyes. So here there's a head and we're gonna go down. I'm just measuring it with my nails. It's not exact. So I'm going to number them. So 12345678. If you want, you can put their heads in. This is just a very simple tool if you're having trouble getting the proportions of the body right? Okay. So at four is where the legs start. The knees are at about six. And then the calves go to a, and then you have your feet here. This is a very crude sketch. For the, for the width of the shoulders. You draw a line in the middle. And then you turn this around. Again, this is not exact. And then there's a head going this way and head going this way and none gives you about the width of the shoulders. I'm gonna put the neck in there. So comes in for the wastes and then comes up. Okay. Arms. So if you have arms hanging down, the elbows will be at three. And then they come down into hands while hanging at about five. And that's your measurement for the Figure. So again, the leg startup for the waste is probably up here at about three. So this is like the hips. So this is the 4s, the bottom of the pelvis. Knees are at 6 ft or at eight. Heads, sideways fit in-between the shoulders, elbows, alright, three, hands are at five. And that's generalize. So of course people can vary, but it's a tool that a lot of artists views to get the proportions correct when someone is standing up 4. Gesture Drawing: Okay, So the best way to start figure drawing is with a model would be going to a life drawing class. And you would do a lot of different quick poses of the model to start, which is called gesture drawings. So you would do one-minute poses, two-minute poses, and then you would move into five-minute poses. I'm going to do a series. How you would start that, but I'm using just something I printed out from the computer of some people. And you can use that to start if you don't have a model. So my first pose, I'm going to put in the line of action just like we learned before. So I'm trying to do it quickly though. And later on we'll do longer figure drawings. Then what I think would be from shoulder to shoulder, where the head is. I'm not pressing hard with the pencil. Shape for the torso, line, for the arm, elbow, hand shape for the pelvis, shape for the sign. And I'm gonna put in some shapes for the arms and leg. And then you're seeing the other arm come up over here. This is small because it's practice, but you can do them bigger. I do recommend doing some practice, quick gesture drawings. I'm happy with that as a star. So I but I need to I mean, that doesn't that looks like a stick figure. So I'm going to try to make it look more like a human. Remember, since I'm still going fast, some of these lines mean need, need to be moved, adjusted or erase. Doing quick. This is more like a five-minute pose, but doing quick studies for figure drawing can really help, even though they're quick gesture drawings, they can really help your drawing. But I'm trying to get it more in the shape of a human. I'm using the shapes that I started with to draw darker lines around. And eventually you would erase the lines underneath. So you should practice like some five-minute poses, some 10-minute poses, some one-minute poses, and some two-minute poses. And this is going to just be a lot of practice work. And then you're gonna wanna practice parts like the hands, feet, legs, and arms. There's a braid coming down here. There's some hair back here. You're seeing the neck come out here. So you're looking for parts of the body in relation to each other. Okay. That's I mean, I don't think that's that great, but I'm actually going to get my eraser and erase the lines I have underneath and then see what I need to do. But I just wanted to show you how you would start quick drawings with the lines of action. We're gonna go into some longer drawings later. But that would be pretty much what you would expect to get in like a five-minute post. I'm gonna do a couple here just to give you some variety. I'll do I'll do probably two more. So I'm gonna do a Standing one. So I'm just looking at the line of action. I'm gonna make a line from shoulder to shoulder, an oval for the head. So this is called gesture drawing and I'm even slowing it down compared to how fast some people do. A line from head to head. Okay. A shape for the torso, shape for the hips. Let me do the arm first. A line for the direction of the arm to the elbow. In a line from which direction? From the direction of the elbow to the hand that I'm going to look at the legs. So from hip, knee, knee down. And then here these legs are crossing. Alright, so that's my starting stick figure. I'm gonna make some shapes around these lines. Try to get the shape and the right place. Shape for the hand shape for the leg, the thigh, and the calf. I'm going to try and put in the shape of the upper body. And I'm not still not pressing, not hard because I may be moving stuff around. Let me find the shape of this area. So see how I'm drawing over the stick figure. And with each layer I'm pressing harder. Okay. Kinda like Layer two, which is getting to look more like a human. I'm gonna go in with the eraser and get splitted some of that. The lines that I started with because they're kind of muddy up the drawing right now. So now I'm going to try to make it look a little bit even more like a human. And I'm going to start up here, so I'm going to add in some of the hair. I'm still just working with the shapes, right? I'm not this is not a finished drawing that will take like half an hour or more. This is a Sketch, a gesture drawing. But I do want to get a little bit more in here. Okay? I want to put in put in a little bit, but maybe not that much detail on the face. I'm leaving some of the sketch lines in. So this is just very, very base level beginning where you're kinda getting the main shapes of the Figure on the page. The fingers, but I didn't outline them yet. I'm not adding Shading to these. In five-minutes, you wouldn't have time. You would worry about Shading leader in longer poses. But I am going to try to get these fingers and a little bit. Okay? And then I'm gonna do one more for this practice one, I made you another gesture video, but just one more for this one. So I'm going to do a Standing person. So remember standing straight up and down as the easier. Just trying to find the angle. I'm actually going to move this over because it's too close to the other figure. And then I'm going to make a line here. And a line from shoulder to shoulder shape for the torso, shape for the head, a line from hips ahead, sorry, and a shape for the hips, shape for the pelvis aligned from leg to me. And there's another leg here that's kinda sticking up. You can do this with pencil or you can do it with a piece of charcoal, whichever feels more comfortable to you, or a charcoal pencil. Forward. There's hair here. But still, I'm not like I'm not doing careful. Like perfect lines, right? I'm doing quick gesture lines. And when you're doing that, the lines may not be perfect. You may have to make adjustments. So the goal of doing something like this is up more practice. Although some people keep these drawings for later, but get everything right in the right place. And then this, this really helps when you, since if you practice this a lot, if you do series of one-minute, two-minute, five-minutes is in you. When you go to a longer pose, you're going to have a lot of experience and getting things in the right place, right? So that's the goal of it. It's kinda like a warm up for a figure drawing. This is called gesture drawing. But it's a skill that helps your drawing in a lot of ways. So it's not just a warm-up, it's a drawing exercise that really helps you because you're not, you're just kinda loosely drawing. And then once you're doing that, you're discovering all sorts of things that you're not discovering when you're trying to be perfect, right? Or you're drawing really slowly trying to get everything in the right place. Actually, this has actually taken probably a little more than 5 min each. But like it's not like a full blown, like I'll say like 30 minute drawing where we're going to actually really be picky about where we're putting stuff because it may the US and it's drawing that you frame, right? Not to say who I'm getting on a Standing here, not to say that you wouldn't frame one of these. Let me erase some of the lines underneath. So in this like the hand can be a circle, it doesn't have to be finished, but I think that's the best I can do for this one. And I'm going to stop the video here. You can use pick people in a magazine. You can use 5. Foreshortening: Okay, So for foreshortening, we already kinda learned it's when something seems shorter than it is because it's coming towards us. So for example, if you're seeing on arm hanging, it's spelled for shortening. If you're seeing an army down, It's like this. But if the person let me do that. Darker. If the person lives their arm and it's coming towards us, their hand is coming out. It could be this short. So one of the methods we use is coil Drawing method when we're doing foreshortening things. It's, it's if you like it, try it out. So you just start making two coils and then you kinda draw around the coils. You just see a few like it. And if it works for your foreshortening needs, I don't really use any method. I just tried to look at it and try to see if it looks right. But if this arm is coming out towards us, it's just going to seem foreshortened. So for example, if you if you like, say there's a person and they're sitting like this, and this link is down. Then this link is up. So I'm going to use the coils for that because it's foreshortened and then this leg comes down in front of it. It's just a method that you can use if you like. Say there's a chair, right? And there's a person right here. This is their hips, right? And there legs are coming out towards you. There sides on the plane of the chair. And then their counts are normal. But it's going to help you kind of feel out or block in. You can, I think you should try it and see if these areas that need to be foreshortened. The other method that people use is putting things in a perspective box. Saying you have a one-point perspective box right here, and here's the vanishing points. So this would vary. This would be different depending on how the person is. You can put the whole person in the box or you can put just a part of the box. So say there's hands right here, right? There's the fittest, right? And then it's attached to an arm that's going back in space. At this perspective. That's gonna be kind of you'd have to make the indentation for the wrist, right. But that's gonna be how you would do the foreshortening that I think it's a good method as well. So let's say there's a person sitting down right here. Let's, let's make the box first in their legs are coming out like this. So say this is like they're like kinda doing the splits. I'm trying to make these equal, but I'm not really measuring in any way. I'm just kinda And then here, here they're sitting right here. And there legs are coming out and there would be bigger than that, of course, right. Because, I mean, they're not going to go that small, right? But say there feet. You're seeing the ball of their feet or their shoe. And then you're seeing there legs. And their knee is about here. And then their thigh in this part seems kinda bigger, right? But that's a way that you could figure out like kinda foreshortening and how big these things would be in the front. Okay, so you could also like if there was a person lying down. This is a very extreme view, but you're seeing there feet. You could put their whole body in here, right? So there legs are are kinda right here. And they're getting smaller. Their head is up here. They're getting smaller as they go back and space. So it's just something to practice. The boxes are really good. So you can use the boxes for different parts of the body. Now if you have limbs that are going in different directions, like for instance, if you're going to, if this person had arms that were sticking out, right, the vanishing point is not going to be right here. It's going to be between the arms. So say they're arms were coming out here. So I'm gonna put another box right here. And you're seeing kind of a hand right here. And then you're seeing their arm, their elbow, and coming up to their shoulder. So this is a from a different vanishing point, right? And let's just do this other hand, I know I'm drawing over my drawings. So you can use different vanishing points for different parts of the body and say this hand is coming out as well. Person we're Mittens is wearing mittens and it's going back to the elbow. And there's their head and neck. So and it's saying you are doing this. Again, you could put, instead of using the coil drawing methods. So you can use the coil Drawing Method or perspective boxes. So here you could kinda use that as well for the thigh. And put this in a box to show you how short it would be. Anyhow, I hope that made sense. That's not usually the way I do it. So I have a drawing that I'm gonna do really quickly. You can choose if you should practice and see what feels good to you. But like, I'm gonna do a quick sketch with some foreshortening. And I usually just look at the shapes and see how they, I just usually draw it. And I keep in mind that something is gonna be slightly foreshortened. It can be slightly foreshortened or it can be very foreshortened, right? But I just do my shapes for my gesture drawing and Figure by using that method of looking for the shapes. So I'm kind of eyeballing it, meaning I'm guessing it out or are feeling it out. So this is a person that's slightly leaning forward. So there torso. This is quick gesture drawing. I'm gonna do my drawing over it so there torso is a little bit shorter than it should be. Or then I would, I would. Intuition really thinks that it is actually the head is much bigger. Comes up a little behind the arm. And then there's another arm right here. This is not extreme foreshortening. So I mean, you can use those methods. This is a very, very quick introduction, but you can use those methods if you, if you feel like you need to you, I would practice them and see if you liked them. I'm just doing kind of a darker contour lines, getting the Figure in here. This is by Rembrandt is an angel. It gets a job. But she's slightly leaning forward. Needs to be going out more. So again, you're always making changes. You can just get some drawings with foreshortening or some photographs and just start practicing them. But this part is foreshortened right here because he's leaning forward. It's not as long as I would expect it to be. Now, I could use a method for that or I could just kinda seek you out. Well, I think it might be shorter than I have it. Right. It's it's up to you. And this leg is also slightly foreshortened because it's coming towards us. This is too big. Hold on. So this is just a quick sketch, but I mean, just kinda showing you how I would feel it out. And this leg is also foreshortened because it's so I imagined it all the way out here, right? But if dislike is coming towards us, so it's shorter than I imagined and I just noticed that so I'm making it shorter. This is his win. Anyway. If you, if you don't feel comfortable with the first two methods, you can just use this method. I mean, you should try all of them. I'm going to try to put it in his hand. So my starting point for the hand was a circle. But now I'm going to try to make it look like a hand. That doesn't really look like a hand, but I'm trying to do a quick sketch, so I'll do a longer figure drawing later. He lives a little too small for you, just getting some marks for where I'm going to put his features. Anyway. That was just a really quick sketch, but just so you can use any of those methods again, you can use perspective boxes, coil Drawing Method, or just drawing something that's foreshortened and feeling it out. And it's something that I think you shade practice quite a bit. 6. Drawing Hands: Okay, so here I'm going to focus on Hands. Sorry. There we go. I'm just I'm gonna do a couple of different hands just so we're just practicing hands. It's really important for you to practice all the parts of the body, but especially hands and feet. Because people like they can start doing their figure drawings and they can get a really great Figure, but then the hands are all messed up. So it's important to practice. It's also important to look at what is the Hands size in relation to the body? You know what I mean? Like a lot of people when they start doing their finger joints, the hands are like really small or really big. You want to make them the correct proportion in relation to the body. So I'm doing an open hand now. I'm using sketches, but you can use sketches or pictures of hands. I'm just making this shape for this part of the hand. And then I'm going to start making some shapes for their fingers. So some of, you know, some fingers are longer than others. And also depending on the way the hand is bending or turning, some fingers may seem like they're shorter than others because of this hand is kinda turning back. But you can't really see that in a way that I'm drawing it. This is the, this is the longest finger actually. You look at your hand. This one is the tolerance. Is it just sketching lines? The thumb obviously is a lot shorter. Look kinda looks like a hand. So I'm going to kroner. Now. Start with the fingers and try to get it to look a little bit more like a hand or refine it. So these fingers are kind of strange, but the fingers have sections. So even if fingers are straight, this sections, maybe Ben, this one. Kind of a line here. Like a crease where the hand changes from the palm to the finger. Like this line is a little too low, so I'm gonna raise that up. You know what, No. I'm going to lower the femur. This is still just kind of sketchy practice work You see the different lines on the hand as well. Later on, I may do just a class for drawing Hands, but right now I'm gonna do a couple. But because you could do some really detailed work with hands. You want to try to, when you're practicing, you want to try to sketch the Hands in different positions, right? I mean, not perfect, but that's a start. And then I'm going to try one right here in a different position. So that's probably an easy hand, right? But if you if the fingers are like Ben and things are in front of each other than it's gonna be a lot harder. So I'm going to I'm gonna do a smaller one right here. Sorry, let me erase this up. So this is kinda wrist area. So remember when fingers are bending, we're viewing them shapes. When I'm not doing it exactly like their shapes, but you still get the idea. I'm sketching them in is kind of shapes. I'm not going to the extent that I went to when I was drawing over the Figure. Because I think you have the idea by now, but I'm visualizing the parts of the finger shapes. What did I do here that I don't like? These drawings may overlap. That's the thumb. So X-shaped 1.2 for the middle band. And then here is another figures, fingers sticking out like this. I don't feel like I didn't quite let me get this thing, grant and see what I did wrong. I'm just taking a look at it, like getting a general overview. It's actually okay. Alright. It is looks weird to me. Something that's weird to you. It's always a good idea to stop in and look at it and see what where you went wrong. Like, I was thinking that these need to be moved over or something, but I actually think I'm pretty on track for right now. I'm now making the outlines of the shapes that I need look more like a actual hand. And I'm drawing, I'm not being as sketchy and fast because this is kind of like the finished product, right? It's going to need adjustments, but we just try to get a generalized contour I'm just stopping and I didn't put the nails on easier and just kinda assessing like does this actual he was like a hand or what do I need to change? And you should do that all the time when you're drawing. Another thing that you should do is like ten to your position. Like if you're really close to your drawing, you should stand up and move farther away from it and see how it looks. What tone I like here. Something is, I think it's the sum. So maybe make this a little bit over here. I'm just trying to figure out when I did. It's not quite right. Yeah. I think that's it. I think there's some was too far out. Whenever you some of these lines underneath while I have my eraser out. All right. Try this shape again. Yeah, that's it, I think. So. Notice I'm always moving stuff around. Alright. Taking up, Fine. All I need to put some nails into the now, stick out maybe a little tiny bit. I want this finger absolutely. To compel a little bit more. Always making adjustments. All right. I mean, that is not perfect by any means, but it's still kinda looks like a hand. All right, so now I'm gonna actually turn this over and do I turned it over just because I don't want to waste paper. So I'm gonna do a fist here, which is a closed Hansa. We did open hands in different positions. More. I'm just making a generalized shape to how we get started. You know, of where the this is. Alright. So thumb is about this actually I think goes out more. So thumb is about here. Again, I'm starting with major shapes. And you're gonna wanna see how this shapes relate to each other. So like when I put in this first finger, which is, or the thalamus, which is how I'm getting started. I'm going to want to see how the other figures relate to it and that might change the shape of the outline that I mean, That makes sense. Here's another What did I do here? I'm just trying to I don't I feel like the size of the fingers is making them it's gonna make the whole hand smaller as well. I'm seeing if I need to make them bigger before I get out of proportion. Want to keep going? This is not right. I'm just figured I'm trying to figure out what's wrong here. So I'm going to move this over this whole thing over C. It's like when you start one thing you have to move another thing. I just don't want it to get to. The way people's drawings get Legs out of proportion is because they're not doing stuff like that. They're not stopping and taking account of likes. What needs to be changed while they're drawing. When you're putting one thing and you're going to have to start moving other things a little bit more. Even though it's drawing is hard, it's also relaxing, meditative, but you can see, can be, you can really have to use, you have to use your attention and focus, especially when you have to move stuff around, you really have to concentrate. And you have to be patient because you may have to practice quite a bit. Alright, That's a good starting point. Not seeing this side of the finger. Alright, that's my starting point, but it does need work. So I'm gonna come back in and try to do some more and more defined harder line for the contour. I mean, I'm pressing hard but I may have to erase some of this line two. I just noticed that I wanted to make the nail longer, but I'm pressing harder to overtake the lines that I need before. Again, this takes time. Practice to use a lot of time. But if you do practice, you'll get better. If you can have someone to actually sit for you so you can look at their hand, that would be even better. The lines that, I mean, maybe a little too dark, but you might not want to go that dark on your second layer. Okay, What is this need? And we haven't done it in any of our other drawings. It needs some shading. So again, you can work with outlined, but then when you add Shading, you make it three-dimensional. I'm just putting in some shading. Just to make it look more like a real hand. It's actually starting to work. Okay. I think I'm like, I'm kinda happy with it. It's not perfect, but it's a little bit better than I expected. Taking stopping for a second to just kinda take a look at it. Pardon, here's kinda dark. I'm going to move this middle line over. This part is in shadow in here. Something not quite worried about it, but I'm going to keep going. You know, I mean, you have to find a happy medium like am I going to correct every little thing or am I going to just try to finish the drawing because I think that looks pretty good, right? I mean, you can be a perfectionist. You have to That's up to you. You have to keep like, I feel like I need to resist them over more, but do I want to restart the whole drawing and move it? Now if I had noticed it before, yes. But I think it looks okay. So when I leave it alone, if that made any sense. But I mean, yeah, you gotta just kinda figure out as much as you can. And even when you think that you've done everything to kinda make it perfect, you can have to go back in and change things. Are you created, notice things that you didn't notice before. What I'm trying to say, then you can have to decide if you want to change them. I'm just looking at it. I'm just saying like, yeah, my on the right track, right. Basically just enhancing some areas of Shading. I'm working on this part right now. Taking a final look at it. I mean, you could use some adjustments, but I'm gonna leave it at that for now. Just the one thing I'm noticing, this finger kind of coming to get rid of that. Alright, I'm gonna leave it 7. Drawing Feet: Whoops. Okay, here we're going to look a look at drawing Feet. So I'm gonna do some feet and some different positions. So again, when you're doing your figure drawing practice, you should practice feet. Again. Looking at it in terms of shapes first. You can barely see that, but that's because I'm not quite sure where I want to go with this. I'm having my line get a little bit darker. But you're going to try to look at it in terms of shapes first, again, as always, just to help you get it started. Is there sketches of feet and then I'll maybe do a longer foot afterwards. After I do a few sketches. So I mean, just, you can print out a bunch of pictures of feet. They can be sketches are actual photographs. I'm just going to erase some of the lines underneath. So I'm just working on a foot. We're looking at it from the back here. So here's the heel. Here's the backside or the ball. I guess they call it the ball. This is underneath the foot. There's 1 ft. And now I'm gonna do one that's kind of on-the-ground coming right towards us. That tests are really quick sketch. I would do if you have time, I would do lots of them. So this front part is foreshortened, meaning that it seems shorter than it is because it's coming out towards us. And what kind of see, like the top of the toe. Here. These are the nails and they're foreshortened as well. And you can really see it in the nails because they're, you know, they're not that short. But since there are at an angle, they seem shorter than the er. Can't really see that one. I'm going to add a little bit of Shading You see a lot of bones in it. So that means you're seeing shading from indentations and protrusions. This bone you're kinda seen come up here. Okay. So there's a foot and then I'm going to look at this other foot. I'm looking at this here and I had to stop because something seems wrong about this. I feel like I need those little ankle bones too low. I feel like they would be a little bit higher. Is better. Again, always noticing things that you may need to change. Okay? Alright, so now I'm gonna do another foot over here. And again, I'm looking at shapes. I'm going to make a big circle here. It's going to be in a different position. So you should practice a lot of different positions. Because when you, when you're doing a model, you never know what position they're gonna be in for if they're going to be barefoot. You just help you with your drawing. When you come across someone you want to draw, it is not going to be so hard for you. Sorry, let me raise that up. You're seeing this TO protrude up, but you're seeing a little bit of the foot underneath of it, underneath it. I'm gonna bring this heel out a little bit more. Seems like it's too far out. So I'm gonna make that curve less exaggerated. So that's the shape of a. I'm not entirely happy with it. Let me add a little bit of Shading. So does Shading again is going to make it seem three-dimensional. Alright, I'm gonna leave it at that and I'm gonna do a more detailed drawing of a foot. So that's just some practice. And I'm gonna do a pair of feet that are crossing each other. Since I'm practicing, I'm just going to turn this page over so I won't waste Paper So I'm going to start out with shapes. I'm just looking for the angle of the foot. I'm just trying to get them in the right place first. And then there's its cross another footage crossing it behind it, overlapping. This is gonna be hired. So I'm really not pressing hard with my pencil. There's one. And I'm just seeing if this angle, if I'm happy with this angle, always moving stuff around. All right, so I'm gonna, I'm gonna move this over here. Okay, so now I'm going to try to do a little bit of a contour to make it look more like a foot. I'm going to start here. I'm going inside to but if I didn't have those shapes sat down first, I wouldn't be able to do this. So I mean, that's the importance of kind of sketching and shapes. He's lines might need to be adjusted to, but I feel a little bit more assuring them since I have the shapes there. Here we go. That's the goal here. To be more curved. I'm just going to erase a bit. Right? I just wanted to make sure I get the line of the toes correct. That's pretty good. Because they're like fingers. They can bend A little kinky. So what did I do wrong here? This needs to be too large. Sorry, it got so low. I went I sometimes I don't even notice. Right. Seems too high. Okay. So I'm going to add a little bit of shading. I'm just getting a different. So this leg is casting a shadow on this leg. So again, the shading gives us three-dimensions. I started out with a B and this is a to be just a little bit softer. And here's the bone. So you're seeing a lot of bones in the feet. Another kind of bones sticking out over here. Light bone right here sticking out. Kind of see little tiny nails. This is a different perspective. It's kind of aside and foreshortened perspective for the Neil's. You're seeing some shading here. It's like between the toes aren't perfect at all. They chose my age. Maybe they shouldn't be longer, but I'm gonna go onto this over here. This is the bone that sticks out. I'm just changing that shape a little tiny bit. This is a light compared to this dark because this is casting a shadow on this. Again, they're like round cylinder, so the delays are like round cylinder, so they're darker on the outer parts because this part is sticking out more towards the light. Not that type of Shading right away is going to tell you that it's round, like a sphere, but this is like a cylinder. And then there's, you're seeing some more bone stuff here. The nails kind of tiny. Since we're looking at it from the sides like this one, you're seeing just like the other part of the nail is going around the edge in this darker on the side of the tones. I mean, I'm not, it's not perfect, but I'm going to stop it here. 8. Drawing Arms: Okay, In this video I'm going to practice some arms. So again, practice, practice. Practice is what makes this is going to make your drawing better. Term I paper in this way. Okay? So I'm just going to do a couple of arms here. And again, I'm starting with kind of changing that angle Figure line to find the angles of the different parts of the arm. Shape for the hand. And a shape for this part of the arm and shape for this part of the arm. So again, we're starting in the same way, viewing the parts of the Figure as they've shapes. Ok. Now, I'm just trying to see if I'm in the right ballpark here. I'm gonna raise this up a little bit, change the angle, and I'm gonna do some erasing kernel middle. And then I'm going to kind of maybe contour a little bit more and make it look more like an arm. Just like a leg in the arms. You're seeing bones and muscles through the skin. So here you're seeing kind of a bag. I don't even know. I think this is a bicep shoulder. This part is foreshortened because it's going back and this is right towards us. And then attach to the arm as the Hands. And this hand I, you can just print out a bunch of sketches of arms or a picture. So Arms, when start practicing. These are sketchy Arms, not like really full finished arms. Okay. So there's an arm. Okay. This finger might be a little too long. I'm just taking a look at it and seeing what I might need to change. But this is a Sketch and this is practice. Okay, So I'm gonna do a couple. So I'm gonna do an arm that is coming towards me. And this arm, this arm is slightly foreshortened. I wanted to hand is coming towards us. It seems bigger than the arm or it seems bigger than it should be in comparison to the arm, because the arm is foreshortened and that's a part of foreshortening. So I'm gonna do a separate video on that, but just know that that's something you're dealing with when you're drawing figures. So like this hand seems really big and this is going back in space, so it's in perspective. So it seems shorter than it actually is. And then there's a thumb right here. It looks kinda weird, but let's just keep going and then I want to see what I need to change. And then here's the shoulder. Now erase this middle line. Hello quite right to me, but okay. Let's do another arm. I'm gonna do one coming this way. Come up here. It's kinda straight. Right hand is right here and the hand is kinda foreshortened. So I'm just gonna make a shape for this part of the arm and shape for this part of the arm. And the hint, this is straight, so this length is normal but the hand is at a weird angle. So like the, this part of the hand is, seems smaller than it should be. So again, when you're doing foreshortening, you just need to, one of the things that you need to think about is that you split. You want to look at what you're drawing the picture or the person and things may not look like you're going to say what? I know this is longer, right? Like I want to draw this longer, but since it's going back and space it shorter. So you just want to look at what you're looking at and try to see the length of it. That's one way of doing it. Another way of doing it is putting it in a perspective box. And another way of doing it is using coil drawing. But it's just important because you're, your mind and your intuition is going to say this is. So I'm going to start drawing it longer, right? But if it's going back in space, it's shorter. So you just again, want to look at things in terms of shape. And notice what does this seem smaller than it should be, right? And then you just work from there. I don't really when I do stuff in foreshortening, I don't really necessarily use a method, but there are methods that people use. Also, another thing about it is like this hands, he was kinda like the fingers seem vague in comparison this or like this seems really vague in, in comparison to this. But this is not like larger than life are larger than normal. It's just normal size in this scene, smaller. That looks horrible, but that's my starting point. So now men against this arm to try to look like the shape of the arm. Just taking a look at it to see if it looks kind of right. And even though I've been drawing a long time, I sometimes do drawings that seem horrible. So like I I practice as well. I should practice more than I do It looks a little bit better. Let me find my eraser. But I definitely don't get it right like on their first try, but they have to move stuff around quite a bit. As you can see. That's pretty normal. I'm not really, don't think that looks at great, but I'm gonna leave it. And I'm gonna do one more hanging arm handles right here. Probably be around here. So here's shapes. The first shape. And the hand. The hand is usually people make hands really small. They're larger than you think they may be. Okay. I'm looking at their fingers. I'm just you can't see. I'm so sorry. I didn't even notice that. Sorry. I'm just taking a look at it. I mean. So again, practice, practice, practice. I'm just saying I'm just looking at the hand and trying to correct things that may be wrong. Speaker seem shorter. I mean, that doesn't look that great. But again, this is a practicing I'm going to stop it here. 9. Drawing Legs Part 1: Okay, So it is important to practice different parts of the body as a part of getting ready to do figure drawing. So here I'm going to practice some legs and some arms. And I'm going to start with a pair of nodes. In this, on this page. I'm just gonna do a pair of legs. So when you're doing legs, you want to look at, well, what is the angle? So I'm doing like this stick figure leg first. And what is the angle of the foot? And one knee higher than the other knee? So I'm starting with a stick figure. So this knee is gonna be higher and this foot is going to be lower. That doesn't yeah, because this is going back so it's slightly foreshortened. So now I'm going to change this into shapes. So you can just, I would print out a bunch of Legs are drawings of loads and then practice. Only gonna do one pair. But if you're just beginning, I would do more than that. So when you do parts of the body, you're seeing that muscle. You're seeing the skin, but through the skin you're seeing muscle and bone. I'm just doing shapes again. We're going to start all our drawings with shapes, right? This helps me get everything in the right place. Before I actually tried to draw the legs in and make them look like legs. And I'm also going to do one. So I'm gonna do legs, arms, and hands and feet, and maybe a Torso. But I mean, for if you're getting started, I mean, I would practice this so much if you have free time. Right? Just practice, practice, practice. So now I'm actually looking at the shape of the Legs. I'm just getting kind of a general shape. The heel here comes out. This still doesn't really look like. But I'm just getting started. The angle is different so you're going to be erasing and redrawing. I actually have to stop this and then come right back. 10. Drawing Legs Part 2: Okay. Sorry about that. So I'm coming back to these legs. So I mean, I kinda feel okay with this sheet, but I want to erase these lines underneath lines that I started with. Then I want to come in here and Try it again. I mean, I'm not I could use another layer of control, but I'm going to look at areas of Shading first. I'm just seeing what I would I feel. Actually this Legs looks a little weird to me. I'm just taking a quick look at it. I feel like the muscles to be a little bit bigger. Know what? I'm making dislike longer. I'm sorry. You guys. When you're drawing. Now, I'm taking a look at this leg and I'm kinda making it longer as well. Using some kind of sketchy lines to get started. Oh my gosh. I don't know if I'm happy with this Drawing. Okay. Okay. So I'm going to start with just tightening it up a little bit. So I'm gonna start with this leg here right now for Shading. And then he is right here. So it's kind of a sheath like this. You're seeing muscle and bone in a leg and in the knee. And this is the muscle on the side. That is I guess contractive I guess would be the word for it. Okay. So here I'm just to kind of outlining, I'm defining the contour a little bit more. So right here you're seeing the bone on the calf. All the way down. You're seeing some Shading. You're seeing the bone right here again as well. You're seeing some shading right here on the edge because it's curved. So it's like a comb, I mean, sorry, like a cylinder. So like the outer parts would be dark and the part that's sticking up would be laid. I just draw over the lines that I made before. It's just they're just guidelines that helped me kind of get the drawing in the right place. You have these two like ankle bones that are sticking out. So Let me erase some of these lines underneath. This is not I don't I'm not really happy with this knee March, but it looks like something that resembles awake. So what am I trying to say here before I keep going? So this foot looks longer than this was because this what you're seeing the whole length at a diagonal. And here the foot is on the ground, so the whole length is foreshortened. So it's much shorter. And then this cap, it seems longer than this calf because this calf is going back in space. So it's at an angle. So it is also foreshortened. Seeing the bone right here. I'm just trying to get the toes any here. Remember when you're practicing some of your practice drawings may not turn out looking like actual parts of the body, but practice is what is going to push you forward. So you may have a couple of drawings that don't look like legs or arms, but that's a part of the process. When you, when you're doing those drawings, you're going to find out how you're making. You know, where you need to improve and where you're making mistakes. I'm just taking a look at them and it's kinda see what I don't really feel is I mean, they kinda look like legs, but I mean, they're not perfect by any means. This is too dark. Just looking for more areas that may need a little bit of correction. So again, remember the foreshortening, so this length seem shorter than this, this is foreshortening, It's coming out towards us. This length shorter than this when you know, they're the same lane because this is going back and space and I'm gonna do a video on later. But let's get a practice. Let's get practicing with our body parts. First. You just keep looking at your drawing and seeing what you might need to change. This area is bothering me. You see this whole bowl right here showing through the skin? I don't know. I mean, I really don't know if I'm happy with it. Like I feel like this this knee is too high but I'm gonna stop here. So again, you practice and you see what you're messing up on and then that's how you get better. 11. Drawing A Torso: Okay, So I'm gonna do a Torso here. This is just a Torso of a woman, just so you can see a little bit about how you see the bones, the muscles through the skin. I'm doing this as kind of like a charcoal drawing because there's a lot of Shading. The arm is crossing here, outlining the shape of the so we're seeing her ribs through her skin. Just like in the legs. You are seeing the bones through this can I'm going to add lights and darks. So that's when you're not doing, when you're doing a figure, that's how you do. You're focusing a lot on drapery and when they're unclothed or parts of them are unclothed, you're focusing a lot on muscle and bone and shading. Okay, so that's my starting point and I'm gonna come in with a charcoal pencil. So this part of the arm is in shadow. I used to neutral piece of paper. So I could add lights and darks in the sum of the paper showing. But paper is like a pinkish gray. Okay. I'm changing my original contour a little bit. This person is a bit one. I'm just thinking about what I need to do next. I'm going to put in some lights. So there's dramatic lighting on this figure which is making it so that it's easier to see. The building is I'm just as of this at this point, I'm just blocking in large areas of light So I'm gonna go into this area where you're seeing some indentations. Truly get the right shape. You are seeing the ribs through the skin. The big highlight over here. When you want when you practice torsos, you want to practice torsos. Torso is the front of Torso is the back of torso. Twisting torso is just like you would want to practice. Legs and arms and a lot of different positions and I'm not I'm just giving you a little taste of what you can do. You should practice, practice, practice. I need to add some darks up the light right there. They don't come back and do that. Now that burned into the paper. Here, it's very dark. So basically you're going to start out if you're doing Shading, doing a contour, then blocking in major areas of light and dark in your figure. And then working on blending. I'm trying to make this area a little bit lighter but still dark so I'm not pressing is hard. I'm trying to let a little bit of the paper show through This is an area that's kinda of a rough sketch. But before I, you know, I just wanted to get my areas that are light and dark before I tried to do more with it. Now it looks very stripy or blocky. That's how you get started. Another area. I'm probably going to sharpen this. I'm just thinking they probably only get gray. You see how? That's a bit darker. Okay. I'm using the great for blending services, but then I'm taking away some of that really nice paper, most of the paper underneath. But since I only have a dark and light here, I need kind of a medium value. That's looking a bit better. I'm getting my white again. A couple of areas that I forgot to block in. This is something you should practice quite a bit. That does not look, I'm not how really happy with this. Let me come back and with the black you're seeing is skin, gray hair. Two, maybe too dark. I mean, this is not great by any means. So I'm going to stop here 12. Blocking in a Figure on Black Paper: Okay, So I'm gonna do one on black paper. And I'm going to start with a charcoal pencil. I'm going to start with the line of action. I'm actually moving. The head is about here. And I'm starting really light. I'm trying to find the line of the body. I'm finding a line from shoulder to shoulder, from hip to hip shape for the torso. I'm making kind of a different shape for the hips because that's kinda the shape that I see. A shape for the hips, a line for the lay. Sorry, you can't see that. Here. I'm seeing this knee up here. There's drapery. So I'm not seeing everything. But I'm trying to get as much as I can in the Drawing. There's the hand, a shape here. So aligned to the elbow, line to the hand. Maybe a little too. That's kinda my starting point. And now I'm going to try to make a contour. And the contour is going to be including drapery. So this person is wearing a dress like flowing drapery. It's going to need adjusting. But I'm just trying to get something down. Looking at the shapes and their relation to one another. So here I'm trying to show you how to do like a finished figure drawing. So I'm working a little bit slower trying to get things right, but this is definitely going to need adjusting. When I worked into the Drawing You see that was kind of hide it the first time. Again, that's what happens when you're Drawing. Just see what I think is here. I'm going to come in with the eraser. I'm going to get rid of some of the guidelines in some of the drawing underneath. And now something is bothering me up here. So this, this is lower. Always XS, probably just that, that's probably it. I'm going to have to make adjustments. This is a complicated drawing. I'm just I'm, I'm just looking at it and I'm seeing what I don't like. I'm I'm thinking that something is slightly off. And, you know, I feel like this person is leaning forward so the whole top is going to be shorter. I'm changing the shoulder line to about here. There we go. Yeah. That's a little bit better. It's actually kinda the same, but you try it again. We tried to put in their head. That is a little bit more over here. We're saying the profile. I'm just stepping back and taking a look at it and see if I think that's a good start to the Drawing. I'm thinking is that to think, that looks a little bit bigger. So it looks just as big. But I can make the hair smaller. We just kept the erasers stuff off. So I'm gonna decide how much detail I want to put in here. There's a lot of foods and the fabric. I'm just looking at it. Just I'm just trying to see what I what I think is wrong. Again, I feel like this is higher. Or maybe that's true. That's it. Maybe that's just simple as that. Alright. So I'm gonna keep going here. I'm going to start here, and I'm going to look for areas of light and dark. I don't know how much detail I'm going to put in here. I'm gonna stop and restart 13. Shading the Figure on Black Paper: Do some more work on this. I'm just looking for highlights. How the white pencil looks. You probably going to work with the colored pencil for right now. So this is a lot of fabric. Again. I'm just doing some line work. I'm going to get a gray. So these darks in here or not, as dark as black. So I'm gonna make them gray for right now. Blocking in some fault. I'm not really worrying myself if it looks totally realistic or not. I'm just kinda getting big areas of black and white and bag for. And again, I'm trying to do this, these videos as fast as I can for you. So I mean, this could actually take five to 6 h, but I'm trying to do it as fast as I can say you would learn as much as you can. Obviously, I'm omitting some of get the gray. I'm just looking for. I'm blocking in values. No. Areas of value. Lighten this whole area Welcome back to that. Still works. Now. Let me look at this for a second. Some gray here. In here. This needs another layer of detail. I'm just getting major values. Shapes of values in some areas are darker, so I'm trying to leave the paper, but they're probably not as dark as the Paper. So this area is darker. So I didn't really like intelligence and gray as the highlight here. And I want to leave some of it dark. All right. I'm looking at the skirt. I'm looking for major folds and major areas of value. There's a shape that comes out even further over here, so I didn't get it quite right the first time, which is common. All the way out over here. There's something that comes right here. So something daughter proportion here. So let me come to this shape here. Like this comes out more. Here we go. So now I'm looking for major areas of value in here. I mean, a lot of these drawings are more while I was the person is new there more about the drapery than the actual figure. But you can see the Figure through the drapery Which is a whole nother skill to learn. Alright, I'm gonna put in some gray. If I need areas to be darker later, I'll put in black. These areas are dark, but these are then eventually what I mean when you're doing a figure drawing, I know right now we're just hitting values and shapes and stuff. But eventually you want to, if and with a portrait as well. We want to say, you want to think to yourself, what is this Drawing expressing? Like? What emotion is a Figure expressing on what emotion is that portrait expressing? But that's kind of on down the line after you get your skills down. Looking at this class break here. Then I'm liking for highlights. I'm going to take a look away for a second. So right there, but here's a piece of cloth over it. I don't like it. But I'm looking for highlights on the leg. There's not a lot of detail on the, but again, it's like a cylinder, so the outer parts are lighter. I'm sorry that on this one, the outer parts are lighter. It depends on how the lighting is, but usually the outer parts are darker, but in this patient or their later go back is more like we're seeing a foot right here. Another piece of fabric I'm going to go gray right here. Contrast. All right. I need to take a look at the hands and the hair. This needs another layer. But even if you've got a really sketchy drawing like this in your in your current of starting out. That's fine. Because it's still I mean, even though this is not doesn't have a lot of detail and it's not really like that detailed is still, you can tell it's a Figure And there are a lot more complicated than portrait. So just take your time. Is it sketchy? That's fine. Too. Be patient with yourself during this process. And this hand. He's kind of hard to figure out. Now. I want to enhance I mean, that that was kinda messy to me. So I'm going to come in and try to add another way. You're just to enhance it. I mean, I could add ten more layers, but let's just try for one. Where I'm going to really enhance the lights. I'm going to sharpen this, getting some more definition and maybe some detail work. But I'm starting with definition. Little bit of blending, but I also want the legs to stand out. Happened here. Just little things like each layer you're in, each layer you're going to see little things that you need to, correct? I'm just right now I'm going through and I'm enhancing highlights. I'm not even doing dark, so I'm not doing anything like that. I'm looking for where I need to really enhance some of my highlights. Nazi one layer. So then you could go through and do another layer enhancing dark, and then another layer enhancing gray, and then another layer of blending. So if you see how much time this truly takes, I like it. I mean, I'm not I'm not overjoyed with it, but it looks better. So each layer just like really enhances. Know what you're trying to do. Again, what I stopped talking, I'm just going to focusing. I'm going to put that all in way. It's not exactly like the picture. I mean, there's some things that I've kind of altered a bit. Not necessarily because I wanted to, but because I made mistakes. Could use like I'm serious, like a couple hours. I could work on this for a couple of hours, but I'll do as much as I can that I think gives you a good idea of The things that I'm trying to do. So again, a drawing works in layers. When we look at the same. I mean, I'm trying to do as much as I can of the drapery without being like a total perfectionist about it and taking like 5 h for each piece. You know what I mean? So I'm trying to get a generalized feel for it and get enough in there so you can see what it is. Without being like a total, like kind of obsessed perfectionist, which I can get into been really, really easily, but that would take too much time. You should definitely try it. But again, I'm treating you as much as I can share, period afternoon. I'm trying to leave some dark showing but not a lot. Alright, It's not looking so bad. If I was being a perfectionist like within these areas. Just to explain to you what I mean by that. Like within these areas of white, there's like brighter whites and like grades. And within these areas of dark, there's like darker grays and lighter grays. That if I really tried to depict that that would take me awhile. That'll be another couple of layers and really slow blending. I mean, I recommend that you, you try something like that. I just, I don't want to make this video too long. Okay. Let's take a look at this leg. Here's the other leg. The other foot, we're just sticking in front of this piece of cloth. There's a weird piece of cloth hanging down over here. It's definitely not. Let's take a look at this. This has a light right here. There's the areas that I left, black or really dark areas changing. Okay. I'm just looking for highlight. Actually, I'm going to get my black pencil. We're not really, you don't see much in terms of the eye. It's just kind of a dark. Think I'm missing. I'm just leaving the dark area for the I maybe making kind of a darker area for the less. I don't know. It's not really detailed. Then this maybe some highlights for certain tasks or curls of hair leaving some of the dark showing. All right. I mean, I don't think it's great, but it's okay. So I'm going to stop here 14. Blocking in a Figure on Gray Paper: Okay, so here I'm going to do kind of maybe more of a finished figure drawing. The people have drapery on them. So I'm using this for this black and white image as my guide. And I'm gonna try to get the two people in this drawing. I'm going to start out in pencil and then charcoal. So I'm going to start with a woman who's kneeling down. I'm starting in the same way. Maybe I should races. Okay. So I'm going to start in this same way. So I'm doing a line of action a little bit more over here. I'm not pressing hard with my pencil. I'm doing a line from hip to hip and align from shoulder to shoulder. So remember you need to get those two diagonals in your drawing first. And her head is kind of coming forward, so it looks lower than it should be because it's coming towards us. Then I'm gonna do a line. Actually, I'm gonna do a shape for the torso. Now, I'm not, I'm drawing slowly here because I don't I'm not doing it quick. I'm trying to create a finished drawing, a shape for the hips. Then. Her legs are bent but they're under drapery. So I'm doing a shape for the legs. This is on Gray Paper. And another shape. That's where her other knee is for racer under drapery but I synchronous see them so I'm kind of glossing them. So I'm just seeing where the arm is and I feel that I need I feel like this whole area is foreshortened. Sorry. So I feel like I need this to feel like it would be more like this and her head would be even lower. I'm going to kinda figure out where this arm would be. It comes over the legs, right. Care. And then here, this arm comes out from here over to here. And I'm actually going to try to block her in a little bit more before I put in the other figures. So I'm pressing a little bit harder. The her torso seems shorter or is foreshortened because it's leaning towards us. Before I tried to put in any shading, I'm going to want to try to get this correct. This is not the angle is a little bit different, so you're going to be noticing things that you're changing all the time. Speaking a shape or handwrite now It's kind of a hairstyle, but that means work. But I'm just trying to get a generalized kind of shape of her in here. So I'm still working with even though I'm putting in detail of parts of the fabric and stuff, I'm still generally working with big shapes. I'm not really doing shading, I'm not doing like detail work. I'm getting major shapes in here and I'm seeing if they look good together, you may have to move stuff around. It's not going to come out. If you notice that something should be somewhere else in relation to something else. Like for instance, if you notice an elbow should be removed because it's not an incorrect relationship to the knee, then you just erase it and move it. Just a part of the process. There's more fabric here. This is gonna be moved around as well, but it's just one layer to kind of helped me the correct, you know, bearings about where this drawing is going to go. Starting to look more like a figure. I mean, it's not detailed theme, but I made the knees too long when I started or not that far out. Those are those little things that you're going to have to start to notice. Once you notice those things, then you know, you're doing something, right? Okay. I mean, I think that's a pretty good start. That needs a lot more work, but I'm going to erase the lines underneath them out of here. Alright. So now I'm looking at the man behind her. So there's a man behind her and we're seeing his back. I'm looking for where their heads are in relation to each other. So I'm saying, I'm thinking his head is about here. The line of action for his body is kind of going down here. Licensed. Okay. There's a line from shoulder to shoulder which is very it's a very steep diagonal. And his head is at an angle. And I may have to move this, but I'm just kinda getting started. Then you're seeing his arm come down here and here. So let me make a shape for the torso. Hips are about here. We're just seeing some drapery from down here. But we aren't seeing his arm. There's a sheath breaks here and a shape right here. And then the hand comes down. So you're wanting to elicit the angels of everything. What's the relationship of this angle to this angle to this angle and not how you're starting. I feel happy with that as a starting point. So I'm actually going to try to outline him. And I'm looking, where does his fabric hit her arm instead about the elbow. That's how I'm figuring out where this line goes. I'm gonna do shading, but that's probably going to be in, I'm probably going to do that in a second video. I'm just trying to see if I see this looks like this, maybe a bit narrower. Now I'm putting a shape to his head. Seen a tiny little sliver of his neck right here. Get rid of some, a few more of these lines inside. Alright, so there's three figures here. Then there's a Qian's another arm, but it's behind this figure. So hand is on life, a child that's right here. Their head is about here. So this is a smaller person, right? Is there? Yeah. What am I doing here? Childhood? They are praying. I feel like this we need to come out more. I'm just trying to get everything in here. This is my starting point for the drawing and I do need to make some corrections. So I'm gonna go over it with another layer of line and try to get it right. Some things are not quite. They seem like they're a bit out of proportion. Okay, so I'm going to start again just trying to, I'm pressing a little bit harder, but again, I'm gonna go into this drawing with charcoal, so I don't want too much of the pencil in it, but I do want kind of a nice contour. That's correct. If you will. She's wearing a head band over here. Quite as much or as little detail as you want to know. A little bit more. What we're seeing of the eye and what's bothering me about this. The chin is to remember I have a whole other layer of correction to make with the charcoal pencil, but I'm just trying to exert stuff right place right now. Alright? I feel like her clothes are made them kind of too small. I feel like they're taking up a little bit more space than I had them take up. So I'm kinda trying to make them a bit sadder. Now, a little bit more adjustments over here. This is actually coming over here. And her to her clothes. This is going to come out. Well, actually looks about right? Maybe this is higher. Remember the best way to do this is actually what the model, right? Have a model theory. So I'm just using photograph. You should practice with photograph first. It's very helpful. And then the model is a little bit harder because it's in three-dimensions instead of two dimensions. I'm making her arm a little bit sadder. I'm using before B pencil, but I mean, any kind of pencil will be Fine. We'll see, chose a darker pencil, so you see it. So this is fabric and it has folds in it. I'll probably use these defaults for the charcoal, but I just wanted to get this on here first. When I stopped talking, I'm just focusing on the drawing. I keep seeing little things that need to be changed. So this is going to come down here. So let's get her hand. It's kind of bending and we're not seeing all of it bringing gray hair. So I'm going to take them of it. This person here getting some of the details that I, in the contour that I didn't have before. It's not perfect. Moving to outline You are constantly moving. Here we go. All right. It's worth living. This figure as well, like this waistline was too low. The right shape for this person here. Let me try to get his head right. Previously a bit of his face over here and then I'm just looking at this head one more second. And there's a hand here and arm behind this head and then this hand. Alright, so that's my starting point. I'm going to stop here and come back and do a Layer with charcoal. Shading 15. Adding a Layer of Shading to the Figure on Gray Paper: Okay, so now I'm going to enhance this dry and I'm going to add some shading to it. So I'm just looking I'm gonna be looking for darks and lights and trying to do a little bit of blending. I'm still, I'm thinking to myself, synthesis so small. I want to use charcoal pencil or colored pencils. So I believe I'm going to start in in colored pencil for a minute. And then I may add charcoal over it just because it's very delicate. And I'm just going to block in some areas of dark. So same thing that we were doing when you were Shading objects, but here it's just a little bit more detailed. And delicate. Fabric has folds in it. So that's a lot, but I'm just going to try to get major areas of darker. And then like, I don't know, I am going to try I can do the charcoal over the colored pencil, maybe that's what I'll do. Okay. I'm just trying to figure out where I'm going to start. I just value that was darker, so I wanted to put that in. Okay, I'm gonna start with a bag. I'm going to look with this person right here. So there's a big kinda, I'm just looking for shapes or indentations in the fabric that are darker. And again, I'm looking at a picture. You can start out with pictures and then later on you can move to the model which would be having a person pose for you, are going to a life drawing class, which I recommend. But if you have a friend that can sit still for you for a long period of time or sit still for you and then you take a photograph of them. That's just an area of dark. So I mean, again, you start out with big areas and you work into more detail like with like, which part of this is dark or which part of it is lighter whereas there a highlight. But I'm just getting in major areas to help me get started. I haven't put in lines yet, so I'm starting with darts, then I'm going to have two lights and then I want to try to blend. I'm not blending right now because I just wanted to get some basic stuff on the page just because there's so much variation in Shading. This is going to take me quite some time. I'm just trying to find major shapes of dark and then I'm gonna move into light and will probably make that one video and then another video with the Blend. If you do it like this, the shading is no kindness seem so overwhelming The big shape here. This definitely needs adjusting. This isn't a starting point for the shaping. Okay? Now I'm going to look at her dress. Actually. Before I do that, I'm going to look at the cap because there's an area that's a little bit darker here. I'm just outlining it. You can outline it as a shade. So when you do these drawings, you want to set aside quite a bit of time. Munich, couple of hours, at least. I'm kind of trying to speed it up because I know you guys don't have like ours and Ohms to watch a video, but the more time the better. Okay. I'm gonna take a look at her dressed in her arms. So this part of her arm is create a darker, but I'm trying not to make it as dark as his cloak. Let's vary. I mean, it looks very blocky. I guess that's a word for it right now. So it needs a lot of work. This is just an initial step. Yeah. And her face and her hair till later, but this part of her nephew is create a dark. This part of her dress is darker. Section light over here. So there's gonna be a lot of light over here. And I'm going to look at this figure. This part of the dress is darker. And as part slider, the arm I for Fine. You're just working around the image. I mean, other people probably do it differently. I'm a person that I really liked working around the image like some, some, some artists might just focus on her head and my to every Shading perfectly and then move to the Coke. But since I think that you do a better piece of artwork when you're looking at things in relation to each other, I tried to block in areas on the whole drawing and then put in detail on the whole drawing, if that makes sense. All right, that's a starting point. And now I'm, can you get white colored pencil? Because not only are there shadows, but there's Highlights. Highlights are pretty detailed. That's showing up pretty good. I'm just trying to see if it shows up over the black. Not really. This shadow may need to be made smaller. Remember you don't have to have a super detailed drawing to have it be good. I mean, if that's what you want, then by all means, that's what you should do. But drawings that don't have a lot of detail are, can also be considered excellent drawings. I'm trying to blend the white into areas of the paper like for egg for example, if it's getting darker right here, which it is, I'm trying to ease up on the white and have it blend into the gray. There's gonna be also folds increases which I haven't put in yet. Starting to look a little bit better. Okay. So let's see, this side of her face. Light. The other side is dark. Here's a highlight here on her. So I'm doing some highlight work, but then I also need to come back in and do some a lion or and then I need to do some blending work. I mean, you could leave it just like this is what I'm trying to say was what I was trying to say before, right. If you'd like it. But I'm gonna try to make it kind of detail. I don't know how much. I'm just looking for generalized areas of light and dark right now. Then I'm going to try to do another layer where I've kind of refine it. I'm just the one I'm stopping. I'm kinda looking at it and just assessing when he suddenly fixed what needs to be changed. But actually a kind of I think she looks pretty good. This person is to block it needs a lot more and more. This part needs to be darker. So this is again, something you need to practice It may not come out perfect on the first time. That's just a part of the drawing process. So you need to practice, practice, practice. All right. I mean, I'm happy with that for our first layer, I'm actually going to come back in and do a little bit of line work before I before I tried to blend. So this is kinda like the crease in the fabric. But the shading is kind of like getting rid of the lines which I don't want to totally get rid of. So there's a lot of creases in the fabric. I mean, you're probably doing your own drawing, but if you want to put in all the creases, you can. If you don't if it seems like it's too much, then you don't have to. Adding line and maybe a little extra dark shading where they're shading underneath the creases. So a drawing can be a mixture line and value. That makes sense. Trying to find the medium is, it's going to be the challenge. Or should I say, this drawing is a mixture between line about you? Drawings could be a lot of other things besides that. But those are two major elements. Ms. Drawing that I'm trying to find what they're happy mixture. I'm trying to look at it to see if I think I'm making it worse or making it better. You should always do that when you're drawing. So I'm gonna get my way and bring it in a little white right here. Because sometimes you can start something like a Layer of lines and it will end up making the whole thing look worse. So you should always stop and take a look at it and assess if you think you're improving it or making it worse. That's a little life. No sharp angles. I guess that's the word I'm trying to find for me, but I'm gonna keep going with it. I don't think I'm making it worse. I think I am making it better. There are some areas where you're not seeing like perfectly detail, right? So that's a balance you want to come, you want to figure out in your drawing, like do you want everything to be a perfect detail or do you want some areas to be not blurry or not have as much detail. So I'm gonna kinda I know I'm working on her, but I feel like I need to work on this Cloak right now because it's next to her. And I'm looking for I'm just kinda doing some line work right now, which is another layer of the Drawing. I just looked at gray. This this guy is going to need a lot of work. You'll be able to identify things in your drawings that you think need a lot of work and things that you think are working well. Just to find him right now. Blending there. I don't know. All righty. Let's see. Let's look at this on for a second. You'll do things that you like and things that you don't like while you're Drawing. You'll do things that you want to change and that's normal. Maybe those lines are too dark. Well, I'll figure that out, reader. So this is like it looks like a wall hat with some bridges. All right, so I'm going to look at the arm, I'm just defining still. Lines seem to dark. You could also do this with a regular pencil, like a graphite, who need to work here. So I'm going to look at this figure. So this Figure have some creases in their outfit as well, which need some Shading to enhance. But I'm just trying to get major lines and first, I'm going to switch to a regular pencil. I can, because I had just so I'm going to come in here with the regular pencil as well. Just fighting major creases. So there's also some minor creases. Okay, I'm gonna stop here and then restart to define a little bit more. This looks this, these lines are too black, so I'm going to stop and restart and then do a final Layer 16. Final Layer of Shading to the Figure on Gray Paper: Okay, so I'm going to enhance here. So I'm actually going to bring into charcoal pencils and see what I can do. So I'm gonna start with black. I'm trying to be careful not getting too messy. I'm just thinking this is a folded the fabric, but it's two lines here. So on now to figure out how I'm gonna, I'm gonna come down here. So again, when I'm not talking, I'm just focusing on the drawing. So I'm just finding areas of light and dark. No. Something's bothering me about this figure. I'm just going to keep going until I figure out what it is. Well, I'm going to come in. I'm going to get my white charcoal pencil. Actually, I'm going to get a Gray. Let me see how this looks. I'm just I'm just assessing what I need to do. So there's some shading in here, but I don't want it to be too dark. So I'm using the gray colored pencil. I could also use graphite or irregular because like her dress is pretty light, so I don't know if I like that, but I'm kinda senior books. I wanted to make a more subtle shading. I'm going to, I'm just thinking to myself, I'm getting my regular pencil and I'm gonna take a look at her hair. There's some delicate shading on the hair Putting in the light with the white colored pencil. This is the headband. These are like grades or I don't know, some sort of hairdo that she has. But they have areas of light and dark on them. Let's take a look at the face. This kind of defining it. And it's darker right here, but I don't want it to be too dark because I want this black to stand out right that's next to her face. I'm gonna do some shading with the graphite. So again here I use a light gray pencil, but it wasn't really giving me the effects that I wanted. I don't want to use black because it's lighter than the rest of the drawing. So I'm using a graphite pencil. Here. I'm leaving the gray paper as the highlight because it's here, it's, there's a light Heartland, but this part is not, is in shadow. So it's not as light. You can see. You could spend a lot of time on perfecting it. I'm gonna come over here. You use the pencil over the gray colored pencil. Looks I just smeared that or I'm going to leave that for now. So like if you're using a photograph or a drawing, it doesn't have to be exactly the same. I mean, if that's your goal, that's fine. But you are trying to get somewhat of a realistic figure. But any just do your best and practice based on how far you want to go. I mean, I would do a lot of these if you're just beginning. But again, you can decide how much detail you want. Since I was, I did kinda have neglected this arm over here. Alright. Now I'm going to take a look at this figure. I'm still using the regular pencil. I'm just enhancing these creases like adding so they don't look just like a line. So there shading coming out of them This is, I guess a child that's also wearing some sort of hat like this. I'm just taking a step back and looking at it and seeing what I think I need to change. You can there can be a point where you overdo a drawing so you start messing with it and you mess with it too much so you can ruin it. So there's a point to know when you should stop. And I do like one thing that I don't like about this Figure needs some more work. Gray. I don't like this figure. It's too light and dark. Like the light or too light in the darks are too dark. So let me kinda try to come in with the regular pencil and see if I can kinda fix this. Like these are lighter areas and the dark, but they're not as light as the paper. So I'm trying to darken them. The highlight is to light. In general, this figure is the darkest Figure. There is sunlight at the top. But the latent, the areas that I left pretty light or too late, That's what I wanted to change. Let me see. I'm taking a look at it. Darkening in that area which is part of his cloak. In this area is lighter. Just looking for small things that I may need to change. So as you can see, could do a lot of layers of this that will take a lot of time to really get it looking really nice. I don't like, like how I made this a sheath, which is a good way to start, but it doesn't look like Shading, trying to erase part of it. And I'm gonna come in a can with the white colored pencil. And just try to enhance some areas of light. I'm going to try out the white charcoal pencil. Clearly, it's not really showing off though. I mean, I think I've kind of I've done as much as I can on this drawing. I don't know. I think these this figure looks good. These two figures maybe needs a little bit of work, but I don't wanna miss it. Epsilon goodness top here 17. Blocking in a Figure on White Paper: Okay, so I'm going to start doing a figure drawing on white paper. And I'm going to add the darks and the median values. But I'm gonna start with the lines of action. So I'm going to start out viewing it as a stick figure. So the person is sitting. The spine is about right here. I'm taking my time with this over here. And the head is about here. So I'm gonna make a line from shoulder to shoulder. And a shape for the torso. A shape for not really doing a line of action. Line of action is here and leg is here. So this person is closed. So again, you're gonna have to use, if you're just starting out, you're always going to have to use a reference. The reference could be like a picture of a figure from a fashion magazine, or like a photograph of a figure. Or it could be a printout of a drawing of a Figure. Or if you actually have a person that can sit for you for a long period of time. That would be best. But I recommend using visual aids first. Unless you really advanced, then you can actually just do it out of your head, but you have to be really advanced to get to that point. I'm just getting it. I'm getting the Figure broken up into major shapes. So this is the head, this is the neck. Now I'm going for the arm right here. I'm gonna show you my drawing that I'm using. So I just printed out Renaissance figure drawings. I just looked up for these. I looked up Renaissance figure drawings and I just printed out a bunch of images. This is the, a person's back, side twisting. So here's the arm. It's going to take me awhile to kinda get this right. And then I'm going to try to put in the shading. So this is higher. Or maybe it just angles up. Again. You have to move stuff around when you're Drawing. Have any eraser with you trying to get the shape of the fabric of the dress. And you can kinda see her legs through the dress. You can see her arm through the fabric, but the fabric takes over the figure in a different way. I'm just trying to get in big shapes before I tried to put in detail her dress is hanging all the way down here on the ground. I'm going to come in and I'm going to erase my lines of action. That was just kind of a central line for me to build the dry run. But now I don't want that in there, just creating too much distraction. So now I'm going to I'm gonna come in urine, tried to do a bit of a darker contour, but I want to make sure it's correct. Like these shapes were pretty generalized. So I maybe kind of moving a little bit away from this shapes that I made I'm trying to get the contour as correct as I can on the first layer. This is like the dictionary of the sleeve. And I may need to correct this layer as well, but I'm just trying to get something substantial in here. Her dress is way out here quite a bit more. That looks like another part of her dress. I'm looking for the curve on sit down. So this is a time-consuming process as you can already tell. I'm just focusing on the drawing and I know I'm going to need to do some adjusting as well. I'll probably do one video for blocking it in, in one video for Shading Okay, I need to work on the head to do some erasing here. We're seeing them back of the head. So the hair is coming around like here they go. Like imagine if someone had a bowl on top of their head. We're seeing a face like dance. I'm just thinking is not face to that chain too long. It was too long. Hair comes out here. Then there's like, I think it's a blade right here. If you're doing something like this and you want to read, you see something that's kind of challenging the Brayton, you wanna leave that out? That's fine. I'm just attempting yeah. I don't know if I'm gonna leave it in there. I'm looking now at the whole thing and I'm just going to do one more round of contour. I'm gonna erase some of these sketching lines just to see what I need to correct. Actually, I think I came out pretty good this arm they need to do lower though. We're just looking for little things I might need to fix these folds I'm gonna put in. I'm gonna do a lot of it with the Shading, but I just wanted to get when you bring this out a little bit more, just looking for little things that we need to be corrected. Probably comes out a little bit more. Alright, I'm gonna leave it and I'm going to start shading. I'm probably just going to stay in this video. I'm going to start with some light gray. I'm using colored pencils So again, I'm just finding areas of light and dark and kind of blocking them in quite a bit of this is like gray, white and some of it is darker gray and black. Again, I'm just looking for areas of value. The harder part, the harder part with the folded fabric is gonna be harder. So I'm trying, I'm gonna try my best to leave the white paper as the light area. This is pretty much all right, right here except for a little tiny bit of white X here. So I'm putting in a base value and then I'm going to adjust it. I'm going to use the pencil, the regular pencil to put in a darker gray right here. These are folds in the fabric. Just trying to get this way, right. Then there's like kinda darker shapes center in shadow in the fabric. And a kind of quiet. I'm trying to blend them into the lighter area. All right. I don't like that. That doesn't look that great. Saying that you don't like it. I knew I say that a lot. That just gives me incentive to improve on it. Until I feel like it's looking really good. I'm making a big shape for a food. Fine. I'm just working one area at a time. I'm gonna get the pencil and make a line here. There's like a kind of a weird fold in here. If you see something like this that seems to hello, hard to do. Thank you. You don't have to do it. You can do as much or as little as you want. 18. Adding Shading to figure Drawing on White Paper: Here's the part here that's kinda white. So I wanted to leave the paper white. That part. Coming back to this pencil, regular pencil. I'm trying to put in areas of dark. And you know what? I I used a darker pencil here. This is a for B and before I was using a B, but I'm going to darken this because I like the way to jump for pencils. I just didn't wanna get too dark too soon. I'll just leave some of the lighter pencil in there so it looks like the darker value is blending into lighter value. This is going to take a bit of time. If you want, you can speed the video. There's a little white here, so I'm going to leave a highlight here. I'm kind of outlining a highlight that I want to leave in here. It's pretty light. The shading is pretty it's pretty light in nature. I'm just getting major shapes and I'll see you about them later. I think I'm going to focus down here a little bit. Just because I wanted, I don't wanna get too wrapped up in this until I feel like this is somewhat started. You to leave a little trim of white right here. Chem looking down here at this part. So there's like a forward rate here, which is darker, so I'm going to use a bit of a darker gray. So I'm moving some of the lines that we're not really in the right place. You're always seeing stuff. So I was seeing it in relation to this folder, but I didn't have this fold in there. So I went when I put the full dinner that helped me figure out where the line should be. Sure you get this right. Okay. So now I'm going to go in here with the darker gray because this is darker. For this section Now there's folds within this section, but I'm trying to break it up into sections just to make it easier for me. Isn't quite right, but sometimes you have to just keep going. If you think something's, I may add black to this later, but alright, let me go dark break here. Here. It's kinda kept later. I'm just putting a little shading on the edges of these folds because they're curving. You can bounce up here. I'm doing it as fast as I can. This line is this, I see. It go. I'm going to adjust this, but I'm just trying to get major areas of light. Light and light, dark, light and my gray. I'm just seeing if I'm doing if I'm on the right track with the shapes, amazing them too big or too small. You make a mistake. You can kind of absorb it into the drawing, right? Like this. Maybe you should be a little over there but I'm not going to read guy and try to erase. I'm going to come back up here with my regular pencil. Raising the dressing a little bit. We go, I think that's a little bit better. The pencil I can. Okay, So this shape is back to this holds. If it's not perfect, you're learning while you're doing it. This is definitely not perfect. Getting somewhere, right? Take a look at this thing here. I'm just finding big shapes. So here you're seeing her knee right through the dress with the folds. So I'm just hitting big shapes and then I'll come in and try to shape them. I'm wondering if I should stop and start again. I don't want the video to get too long, so I'm gonna stop and restart it because sometimes I will upload if it's too long 19. Final Layer of Shading to Figure Drawing on White Paper: Okay, so now I'm going to put in some dark or mediums here. Here we go down. Like in this folder, I'm not making it as complicated, but there's a whole breadth in this, but I'm just going to simplify it. And that's what I meant when I said, you can simplify certain things if it just seems to be too much, right? Or if you don't have time for what you're wanting to do. This line is much more. Again, I'm just looking for shapes that are darker than the in-between. I mean, that doesn't look realistic right now, but I'm just blocking in areas of value in between are lighter areas lower. This needs a lot of another layer. At least. That was just a starting point. I'm gonna put in some jars to the light was just kinda my first layer. There's, so there's a fold right here. And right under this board it's quite a bit. There needs to be something right here, darker Okay. I'm gonna come on up here. I'm going to leave that alone for a minute. At the top more. Again, you as much as you feel like you can or is it you do as much detail as you want to know what I mean. It just seems like it's too much, then, you know, I could make this a lot more simple by eliminating the, right. There's also some folds up here, but of course not as many because it's tighter. There's quite a few in the arm though. Leave a little white above these folds right here. But let's just keep going. I'm going to sharpen this pencils. I'm actually going to renew know what it is and I just didn't know what before I do that, I'm going to come back in here with a darker pencil, shade like on the curve. And it's going to imitate cross contour lines a little bit right here. That's not the whole layer. I just wanted to get that little bit in. So I'm looking at Mason pencil lines first. These are just major fault lines. I'm trying to give myself a headstart. Some of that was just to help me find someone's affords. This is going to be a little bit challenging. There's like a white highlight going through the center Here's another shape right here. I don't know. Like I'm not putting in everything because it's a bit much as much as I can. We have to come back to that. Okay. Probably just going to make I'm going to simplify her hair. Just the brain is a bit much. So since I'm I'm copying right now, I'm just working on skills. I couldn't. But I mean, I'm using Creative License. But I mean, I can't put this in a gallery in residence in original. But I'm just working on skills and practicing right now to just get or that's what I wanted to students to do to get you up to speed, to be able to just pull one of these off on your own. So this is simplifying because I think the braids would just be too complex to do right now. Okay, so there's an ear just trying to see her now it looks something like that. And I still feel like this chin is too long. That's a bit better. I'm just before I do anything more, I'm gonna come in with this pencil or kind of defined some of the edges and shapes and move the edges. So this is the contour Definition. Just before I go any further, I just wanted to see how defining it will help. Drawing. Now, for a second. Lines maybe a bit dark. Just adding to some of these folds here. I'm just kind of getting an overview of where I need to do. This is a lighter pencil because figures lighter over here and I don't want to know to address. I'm just working on it. Again. It's kind of veering off from the actual photograph. But again, I could do another couple of layers on it, but I'm going to stop here 20. Figure Drawing Outro: Okay, So for the class project, you're gonna do a figure drawing on black paper where you're adding the light and the mediums. I figure drawing on gray paper where you're adding the lights and darks and leaving the gray paper as the middle. And Jeff figure drawing on white paper where you're adding the darks and mediums and leaving the white paper as the light. You can also add hands, feet, and sketches to the project gallery if you want. But those are basically practice for the three drawings.