How to Get Better at Drawing (Sketchbooking 4)

1. Intro: Hi, my name is T0 and welcome to the fourth sketch booking costs. In this course, I wanted to share with you some tips and techniques on how you can make your drawings look better. How you can give your drawings more clarity so that when you show your drawings to someone else, that person will be able to tell you, is that the at-a-glance, what you are drawing, we will be learning techniques such as using silhouettes, negative shapes, and foreshortening. And in the last lesson, I wanted to share a few my approach to sketching. Before we start, I want to remind you to leave a review at the end of the course or they can help other students discover this costs that start with first lesson. 2. Drawing with Negative Shapes: In this lesson, I'm going to teach you how to draw and paint using negative shapes. This lesson is going to be split into two parts so that you can practice this on one day and this on another day. For this lesson, I have provided you with additional photos you can use for more practice after the lesson. So this some of the photos. Let's take a look at the main photo we will be using, which is this particular one. So what are positive and negative shapes when it comes to drawing? Positive shapes are created by the subject. So in this case we are drawing a tree. The positive ships will be created by the branches and the tree trunk. And the negative shapes are created by the space outside of the positive shape. In this case, it would be the shape of the sky that are trapped between the branches. So when we draw this later, I want you to not think of yourself as drawing a tree, but drawing the shapes, the negative shapes that are around that tree. Instead of drawing the branches, I want you to draw shapes that are trapped between the branches and just ignore all the leaves. We're just going to draw the branches and the tree trunk. Let's start by drawing the shape that I showed you earlier. So that shape is going to take up this space on the page. While you are drawing, really concentrate on getting the shape right. Do not think of yourself as drawing branches or tree. Just draw the shape that you see, a shape within this trap shape. There are other shapes. So that's draws some of them. You can use your artistic license to draw some of them and live some of them out. I am not going to draw everything because there are just too many branches. So just draw the shapes within the shapes that you have already drawn. At this stage. This doesn't look like anything. So that's Continue. I'm going to draw this shape here that is created by left and right branches. So days we'll go all the way up. And we have another shape here that comes down. So while you are drawing, don't think of yourself as destroying tree branches. You are drawing the shapes that are outside of the branches. And I'm not sure I can see the details here. There seems to be another branch just decided this brunch. So I'm just going to draw again the shape of this guy here. If you don't know what you are drawing by looking at what you already have. It's alright, just trust the process. So here I'm drawing the shape, disguise shape between this orange here and not a shape here. This is actually write a good subject to draw because even if you mess up, the tree will still kinda looks like a tree. Okay, this is a branch and now I want to draw the shape on this site. This guy here between this branch and this branch. And here. When drawing, think of herself as drawing lines. Getting to angles, right? Do not think of yourself as growing branches or whatever subject you on Freud. This will really help improve your accuracy and really focus on your subject. Okay, so now that we have this shape here, I want to draw and not a line here. So this is trapped shape here. There are some smaller branches. Let me just draw one here is shape that I'm drawing within this shape. There are too many leaves, so we are just going to ignore the leaves. We just want to draw the branches. Now I want to draw the ship here. So to ship go down, I mean that align with go down here. And this shape we'll come down here does lie is almost protocol but Toyota slightly. Okay. Next I want to draw the shape here. So I'm going to put the line here. I'm going to start here and draw a weed down. And draw this shape here. Which after I finished drawing is going to look like a brunch. We have a trap shape here. So we have a triangle here, actually, this small little triangle here. And let's draw this shape here. So we can have a triangle, sorry, a line that goes across and is shaped, that comes down and goes here. Notice here I am not drawing branches, I'm drawing a shape. Next, I want to draw the shape here. Make sure this space is big enough. I was about to say this tree brunch is a thick enough, but that's not a thing of this as a tree. So we going to draw this all the way up. The lies are not going to be completely straight because this is nature. In nature, it's very rare to see completely straight lines. When drawing. When you have this T-shapes, you can see this T here and this t here. So these T-shapes will actually create this illusion of depth. So he get foreground elements over background elements. So that's continuing to draw this or seems to be a line here. That's draw the traps shaped hair. And now the trap shaped hair, a triangle. There are some branches behind, covered by the leaves. I want to draw them. So one branch actually comes out here. I just realized my drawing is not exactly accurate, but it's all right. As long as I get the general shape to look right, it's going to look, alright. So this is the shape within this shape. And we have this line continues from here, k. Let's add some small or thin lines here. This would be the small branches. Next, let's move on to the left side. So we have this shape here. Next I want to draw the shape, that line, sorry, the line that separates the tree branch and sky on the left. So this line would go down and come down at an angle here and go to the left side. Next, let's draw this shape here. Oh, that's quiet. This is a really fun exercise. Okay, I may have drawn this front share to little b, cos. I realized that I have drawn my whole tree a bit lower. But this line here aligns to this branch here. So it looks, still looks all right. It's just that my shape is a bit off and it's okay. So I lost concentration. And now I'm drawing this shape here. And that's draws on the shapes, some traps shapes here within this beak shape. And we have this little traps shaped here within this big trapped shape. Hey, seems like there is. Thick Brunch here. So let me just draw out a small shape here. And that a small shape here. And add a one here. This is that trap shape here. And we can see this line actually comes down here. And I notice I don't have enough space to draw the truck shape here. So I'm going to use my artistic license to introduce, automate that tree brunch come up from this site, state and curious something that looks unnatural. So we see a line that goes beneath this branch. So if this line doesn't continue out from here, it's going to look a bit weird. So what I wanna do is to have this line continues out and come down, which seems like what the photo is showing. So this is what we have. Even though we did not start out by drawing a tree, we ended up with a tree. So that's a fun thing about drawing with negative shapes. And also when you use this technique to draw, you can draw more accurately. Because you may know how a tree looks like, but you don't really know how a tree looks. By looking from the bottom up. You will still have memories of how branches or how a tree trunk will look. But when you are using negative shape drawing techniques, it's really going to help you. It's going to help you block out the memory of what you have and draw what you see is data of what you think you see. So he can introduce more branches at each stage. Sketches actually, Dan, you can introduce more branches if you want to. You can also add the leaves. I'm going to leave the leaves up to you. I can still see some branches, so I will still continue to draw those branches. All right. I can see this tree Brunch here. Mine was drawn a bit too thin in the reference photo. It's actually Victor. Here. I may want to know. I'm I think I'm not going to add any more details. If not, I'm going to use seriously masters up. And then you take a look at this shape here. So this shape here, this part here should be smaller. Here you can see I've drawn this shape to be. So while drawing this earlier, I lost concentration. So when you're drawing, it's good to sometimes slow down and really observe the shape that you are drawing. I drew this probably because I was thinking of how a tree will look like. But when you are drawing, you should really focus on what you see in front of you. Really focus on observing what you see in front of you. So we are done with this drawing. You can go on to paint the tree and add the leaves. 3. Painting with Negative Shapes: Next we are going to get more exercise with negative shapes. And this time we are going to paint the negative shapes. So this is the reference photo. We will be using nicks and we will just be painting this guy the colors I'll be using our fellow blue, green shade and French Ultramarine. If you're using a big sketch book, make sure you have enough water in your mixing well, because we are going to paint our rod, the beak shapes. We don't want to run out of paint while we are painting. So here I'm just adding more water to the well so that I can add some a little blue. Don't add so much phthalo blue at the start because THE a little blue is very intense. You just need a bit of failable and you can achieve very vibrant colors. This is ultramarine. And try not to mix the colors completely because we want to see color variation, makes sure the brush you are using has a sharp tip. So I'm going to start by painting this little shape here at the top. If you feel like your blue is not blue enough, you can add more paint. So while painting, try to paint the shape as accurately as possible. And once again, don't think of yourself as painting a tree. You are painting the shape outside of the tree. So we have this little shape here and neck shape looks like some sort of triangle. And this side here shape comes down at this angle. And dish. I mean just extend issue but slightly. And it comes down at this angle. Make sure your brush, make sure you are producing the shape, you're making the shift and you want if there are shot ages and make sure that the edges are sharp enough. Okay, so now that I have this shape, I'm going to draw the shape. That's what from left to right. So hot that my hand doesn't run on that watercolor. So next I wanted to draw this shape here. This shape is quite far away from this shape because the tree bronchial tree trunk here, it's quite thick. So when you are drawing, try to get the distance or the proportion right? And this shape, we'll come down at this angle like this. Next we have this shape that goes like this. It goes down to laugh slightly. We'll use this to find where we need to turn. So this turn is slower than this point here. So that's painted them dish blue shape here will be for being here. It's thin right here, lower than this triangle. And I write, I hope I'm right. Sometimes it's difficult for me to paint and talk at the same time. I hope you know what I mean. Okay, so let's draw or paint the shape in nave. The few hands spot any mistakes that I make. That is fantastic because if you are really, you can really see what's wrong. You can identify what's wrong. Here. I may have to use too much water. Next, let's paint the shape here. Your mind may tell you to paid something from your memory, but try to paint what you see in front of you. And it's always, it's alright to just stop. And Luke, we have a little triangle here. And we have this shape here. This line will come down at this and go, go to the lab. Comes up. Slightly to the left can and then code down here. Okay, then we can fill in the color here. So sometimes you may want to draw the line first and then viewing the color. It is easier that we actually, next we have is very big ship at laughed. If you don't get this right, it's okay. You can draw it as many times as you need to practice. Okay. So here we have this shape. So I'm going to fast forward this section because the process is the same. Just pin the ships that you see. While painting this, your brain is not going to be able to process what you are seeing. And it's okay. Because that's actually what we want to do. Don't let your brain know what you are painting. And you have to fight the perched here. Draw when you think you see. All right, so these are the shapes that I have painted. Next, we can pin the shadows or the branches and this sketch should come to life to paint the shed dose. We using phthalo blue mixed with a warm rate. So this is the shadow color. And make sure that the sky is dry. Before you pin this. Otherwise, the colors, the shadow will blend into the sky and it's not going to look good. So just paint the shadow as you see pinned the shape of the shadow as you see, don't paint a shadow. The pin, the shape of the shadow. And I think of you as painting the shadow, just paint, well, a gray shape. So the lysosome is actually coming from lab. You see there are two branches here. One is in front and one is behind. By adding this shadow H here, you can separate the two branches. Oops, I painted over this guy. Notice my shadows. They have hot h. If you want to, you can soften the edge of the shadow. By adding water. Clean your brush and add more water to soften the edge miniature house. So I've just clean my brush. And this is the clean brush. So you castes often each year if you want to. If you have hot ages, shadows, sketch is going to look pretty stylized. Okay, I realized that I have probably drawn this part here up into this part here. Too thin. Yes. Okay. So let's continue. This part here. It's darker, goes away. When you are painting shadows, It's important to keep the shadows consistent. That means when a person is looking at your sketch, he or she will be able to identify where the light source is coming from. At-a-glance, make sure you don't paint over the lit area, the areas that are under the right. Oops. Oops. Yep. So that's the mistake I made there. While the wash is still wet, you can quickly clean up or fix your mistake. Otherwise, when this is dry, depending on the paint you use, you may not be able to lift the color. Failed blue is a staining color. So what I mean by staining is the PMNs are so small that they will go into the paper. And when the pigment is in the paper, you wouldn't be able to remove the pigment. As for ultra marine, It's not as stainings, so the pigments will be on the paper. So when you have the payments on the paper, you can still remove them. But when you have the pigments in the paper, the pigments are not going to come out. And we have this Brunch here, which is really dark, it's almost black. So maybe later on I can make small phthalo blue and a warm rate to make this Brunch here really talk. Let's paint the bottom of this orange here and a shadow side here. And this will go up here like this. So now again slowly see your sketch appearing, the tree appearing in front of you. I can add a shadow ship here at who create the illusion that the bronchi splitting here. You know what? Let's see if we can stop then some of the shadows here because I think the shadows not having to hunt, which looks better. So that's try and do that. And it seems like, Nope, phthalo blue is staining. So now when I apply water over it, you don't want to see the colors LAN, so you have to do that while the wash is still wet. And the colors that you use is important as well, which is why they sell so many different colors. There are so many different beliefs. So in this case, I'm just going to keep this gouache as well stylized sketch, we are hot shadows. If you take a look at Japanese animation, you will see the shadows. The average shop, they don't have soft edges like this because painting salt ages is going to take time. And when it comes to creating an animation, Japanese animation, they don't have the time to paint soft shadows. They don't have the time to make the shadows soft. Okay. So I may want to make some of the shadow ages, dr. So let me just make some of the shadows darker like this area here. Oh, there is a brunch here which is kind of dark as well, and I do not pin earlier. So by adding this additional wash here, you can create more depth. You can make this tree look along three-dimensional. But my sketch here is my t-score sketch. My painting here is small star lives. Basically this lesson is just to show you how you can paint with negative shapes. And there are many little shadow shapes on the tree because there are a lot of branches casting shadows. That's why you see lines like this. If you take a look at this branch here, this line should go down continuously. But my shape, my blue shape here, doesn't look that right. So if you try to correct this mistake by adding more blue here, you will see that there is this H here. See that HDR that happens because this part here is dry and you are adding a second layer on top off, an area that is really dry. So that's why you see that there. So let me just paint over the first shape to try and make the H less obvious. So now we have a line that looks like it's going down continuously. Same thing here. There's the shape that I did not paint properly. And now when I paint over it, you can see that there. This is ultramarine, so it's not as thin in competitive phthalo blue. So you can actually have your brush run over the edge a few times to soften the edge to make it disappear. But it's still there, but it's less obvious. In the photo, you can see many branches that are so dark. They look like they are black. So that's paint some of those black branches. I'm going to mix a phthalo blue with a warm red. I make stemming concentration to get that very dark, much darker color. So I'm going to test it out here first. And it looks right to me. So that's have to bronchi split error. And we have the branch here. I'm using a smaller brush to paint smaller areas, essentially, for the main tree, I need to make sure the shape is right for this smaller details. These are not as important, so I don't have to follow what I see exactly. Just need to make sure that branches out naturally. All right, so I'm going to just stop right here. I can actually continue to add all the branches, but I'm just going to stop right here. So this is how you can draw and paint it using negative shapes. This technique can be combined and used with other drawing and painting techniques to help improve your art and your observation skills. 4. Using Silhouettes to Improve Clarity: This lesson, I wanted to show you how you can use silhouettes to give your drawing small clarity. So I'm going to draw the outline of a subject and you can guess what I'm trying to draw based on the outline. So this is just a very quick sketch. Silhouettes are just shapes. You can think of them as outlines. Some Guan does outline of something of a subject. You may or may not be able to catch just by looking at this outline. Now this is a technique that when you are a beginner, you should think about it constantly. And once you are more experience with crowing, or this will be part of your subconscious, you won't even think about it. I will show you what I mean later on. Alright, so what do you think this is? So let me give you some more clues this time I'm going to draw this thing, this subtract from the side view. So this is the side view. By the way, I will provide you with reference photos that you can use later on for your practice. So in Grundy ship, I'm really trying to draw what I see in front of me. Can you guess what this is? My drawing is actually a bit of bird. Here. You can tell that it may look like a horse. He may look like a house. So let me just show you the reference for though. So this is the first subject I drew. It's a Haas from the front and we can tell is a h4s because we can see the years, the eyes, the head, the body, the L6, and who's this is a photo so it's able to capture all the details such as the light and shadow, the shading and harness the horse is where ring. We are not able to tell what color the house is because it's a black and white photo. We can see this white pattern on the front of the house. So we've a photograph, we have all this information. Next. This is the second photo I use. It's the same hospital for my drawing. I drew it from the side. So this is the SipProfile and it still has the years, the eyes, the body, the lakes and the hooves. But because of the side profile in mixed this object more recognizable. Take a look at the first SET where I drew. It's not easy to guess what this animal is. It may look like a dog, but the size of the feed, such as that, it is not a dot. So when it comes to drawing, we do need to add all those little details in, in order to let the person who is looking at that drawing know exactly what we are drawing. Because at a glance just by looking at the outline, we are not able to tell what this is, what this animal is. It's certainly an animal because we can see it the lakes, but we don't exactly know what animal this is. So now I'm adding all these little details. And by adding all these little details straight away, you will be able to get more information to make a guess as to what this animal is. And now it looks bit era. I can add some hair here as well. So now it looks more like a horse. But due to the silhouette, due to the shape. It's still not as clear. It looks like the Haas. So whenever I draw, I would try to look for view that would clearly convey what I'm trying to draw. So if you take a look at this second drawing, can see my shape. The shape that I have drawn. It doesn't look really like a Haas, It looks like a pony. Shape of the head here looks kind off. So just based on this shape, you can tell it it's an animal definitely. But it doesn't look like a hospital's the shape silhouette here. It's a bit off. So if you get your silhouette, if you, if your silhouette is off, the ship is off, you can actually still sort of rescue your sketch by adding details to make what you are drawing clearer. How adver, because the silhouette is off. Adding all these details may not matter as much because the main ship is also whatever you're drawing. It's maybe off, it's going to be affected by your initial shape. So here I've drawn the legs, I've added the h2s. Let's draw the harness at the top. So I can add all these details here. And there are some blinders site blindness for the horse. But the shape of the head is kind of ofs. So it's I mean now we've all just did user can tell it's a horse. I can even add the hair of the house. So if all these details added, you can sort of guess now that it's a hosp, but earlier on when you're just sort of shape, it doesn't look like a Haas, It could be Donkey. So based on these two drawings, the SipProfile is better because it gives you more clarity instantly straight away, you can tell it's an animal and it's definitely not a dog. It may look like a horse, but my drawing technique, it doesn't make this look like a horse. But the thing is, at a glance instantly, you can tell this is an animal. Now when you are drawing, whatever you are drawing, if you have the option to choose the perspective view to see you add definitely choose a silhouette back gives you instead clarity. This case, the side profile. So for example, if you are drawing the Haas on location, definitely walk around the halls to choose the best view, the best acetyl wed to represent a loss. In this case, I'm actually drawing the shape first and then filling in the details. Sometimes I do that. Sometimes I will just start for our maybe in this case, the hit here, just trying get hit, right? And as I am drawing, I would fill in details. But the thing is, before you start drawing, you have to choose the view and a silhouette to use. All right, so choosing what view to use, what view to draw, what composition. That is important before you started growing. And when you draw, you can draw the shape, viewing the details, or you can draw, draw a small part and fill in the details and continue drawing. Let me show you another example and this time, once again, guess what I'm trying to draw. Can you tell what this is? Based on this shape alone? It could be a hat, but it's actually not a hat. It's a teacup with the handle upside thing. I drew the handle correctly. It looks like a year now. So this is a teacup, but this is the wrong shape to use for drawing a teacup. You should be using this shape. We have a handle is fairly obvious. If you draw something like this with the oddest details, it's going to look like this. So this is obviously clearer compared to this. This does not look like a head at all. Same applies to drawing maybe a tea pot. So when I draw a teapot, I draw it this way. Showing the site, sorry, showing the SipProfile. Don't draw the tea pot like this. And definitely don't draw like this. From the back. It's not clear that this is a teapot because we can't see the front. So these are actually choices you can make. Like, which profile should you throw? Sure, you draw the front. Should you draw the side? Choose the profile that gives you instant clarity. Let's take a look at some of the earliest sketches I have to look for some good and bad examples of silhouette. So this is actually a very good example because even with the colors, the light and shadow, the shading, the silhouette is very clear that because we have all this very obvious for a clear shapes. And even if you don't have the details just by looking at the shapes, you will be able to tell what this drawing is even when it's not completed. This is also a good silhouette. But here I have overlapping lines to give you the impression of depth of perspective. If you don't draw all this overlapping lines, then it's not going to be clear which branch is above. Branch. So here, in addition to a silhouette, you must use the techniques of creating depth for this sketch. The C loop looks like this. It's an okay silhouette. This is good because we can see the shape of the quotes very clearly the closer hanging on the clothesline and there are two line. This could have been drawn like this. Let me show you a bad example. So once again, we have the clothes hanging. But we can draw another line behind. And we can hang all clothes. And now you can see the shape is no longer clear. To rescue a sketch that looks like this, we need to improve that clarity and we can improve the clarity by using silhouettes, but we have chosen the wrong silhouette here. So the other way we can improve or rescue this drawing is to create contrast, create recognizable shapes. Using contrast. You can create contrast using colors, using perspective, using silhouettes composition. So here it's slightly better, at least we can see you one should hang here. You can use perspective to create silhouettes and shapes. This has a good silhouette. We have this rectangular shape at the bottom. We have all these things coming out. And we have all these little extension coming out at the end of all these things that are coming out. And notice I did not clam or put all these docs to gather. If all the stocks were put together, then this shape will be one whole ship, but these are actually separate shapes. So we can tell that these are individual stocks just based on that outline. So this is actually quite good silhouette. Even without details, we will be able to recognize what this drawing is all about. This is not a good ACSM bowl because the ship is not really recognizable. Let me show you what I mean. Let me just redraw this based on the outline that I have there. So this is their silhouette. So it's not that clear what this is. So for this particular sketch, you really have to rely on the DTUs and we have thin their shape to let the viewer know what this sketch or drawing is all about. This is a good example. Here. Because the ship is very recognizable. We can see the swing and can see people on the swing. So this is a very good example of a silhouette. This is not that great. It's recognizable. You can see it's a person, but the ship itself, it's not that great. So this is the shape alleles. We can still see the lakes so we can tell that it's a person. This is, the general shape is not very clear because the arms are folded within this shape here. So it's not easy to tell what this is just by looking at the outline. If you are using a reference photo, try to choose a reference photo that shows you a clear silhouette or shape. And this is a very good example because we can see the arms extending out from the body. So even if you draw this without any details within the shape, you can tell instantly that this is a person because of the shape of the arms. The silhouette of this sketch is not a bad. What really helps here is the silhouette of cables that are hanging care. So let me draw a really small version of this same sketch. Let me just draw a version without the cables first. So it's not very clear just by looking at it online what this is. However, once you add k balls here, immediately, you get more information. It kinda looks like a street and all these little deduce that you. And later on, we'll just make this sketch clearer. This is a good example because we can see the, see the head of the statue against the sky very clearly. I just realized I can't draw houses. But for this sketch I-V, the buildings are much taller. For example, if the statute is in front of a very tall building, then the silhouette will be lost for this sketch. Does silhouette would be the outline for this people here. It's not that clear. So we have to rely on the details within the silhouette to give this sketch more information. This is not bad. This is not bad. But again, we need to rely on the information we'd be in their shapes. This is our right, this is not the best. So again, we need to rely on the information, the details within the shapes. The shape here is much better and it's more dynamic. Here you can see the ship is very obvious because of the watercolor wash on top. When you are drawing a building, definitely choose a silhouette. They can show off the shape of the building. Now sometimes silhouettes don't work. So for example, in this case, I was drawing that toys that belonged to my daughter, that horses are in this container. So the silhouette is actually this container. And there are many small individual items here. So if you look at the outline here, it's not going to be clear what I am actually drawing if there are no details within the shape. This is an excellent example of silhouettes. So we can use silhouettes to design shapes. We can have a circular fish. This is a diamond shaped fish. We have a streamline fish. Suggests by the different shapes we can tell we have different species of fish here. And then we will look at the colors. We can tell different species of fish as well. It's very clear how a fish looks from the side. So we draw a fish from the site. If you draw a fish from the front, it may look like this. It's not very clear. This is a fish. If you draw this fish, maybe it's a puffer fish from the front, it's going to look like this. So this front view, it doesn't look as recognizable compared to this side view. And this could be a gurney as well. Because if we turn this on this side and draw a string here and it looks like a balloon. This is also very good example because we can clearly see the shapes of the leaves. However, when we have all these leaves overlapping each other, the ships are combined together and it's not very clear what this is. So in this case, we actually use different colors to separate the different leaves. Is our sum still live drawing? When it comes to drawing still live. Try to choose recognizable silhouettes as well, such as this one. This one is great because you can see it fine. You can see the leaves and you can see some very big object here. The silhouette of a chair. This silhouette is not that obvious, so you have to rely on the details within the silhouette. More fish. Symbols and logos need strong silhouettes. So all of these utensils and kitchen where we're drawn from this side view that Fred clearly shoes of the shape at all subjects. So at a glance you can tell instantly what all these items are. So when you do dueling or drawing from imagination, try to create recognizable shapes. When you are drawing with the help of reference photos or when you are running from location, try to change your viewpoint if you can. Choose a view that best represents the shape of the subject that you are drawing. When it comes to drawing, you can choose what to include and what not to include. And that is the brilliant thing about drawing versus taking a photo. So if you have taken a photo of these people at a cafe, you wouldn't be able to see this person stretching out his arm to take some food and his other arm is resting on the table. However, for this particular sketch, actually chose not to draw the outline for this. Um, so by not drawing that, I have created this very interesting negative shape that invites you to think of where that line can be. So when you are drawing and you can make people think, you can make people few in the blanks. That's great. That is a fantastic drawing. So in this case, you can see here, I did not draw the silhouette of the person. I actually just drew some DTUs here to represent, showed us. And you can feel in their line the silhouette of the head, It's quite clear, but the Senior of the body, it's not that obvious. Here. You can just view in your view in the blanks with your own imagination. For beginners to drawing or sketching, I highly recommend you to think about silhouettes all the time. And soon without you knowing, you would get about silhouettes because it's going to be part of your subconscious. So for the homework of this lesson, I want you to look at all your sketches then you have drawn in your sketchbook and see how you can improve on them by changing the silhouette to make the ships more recognizable. 5. Foreshortening: This is a two-part lesson where I will show you how you can get better at drawing. How you can make your drawings look more accurate. How you can identify mistakes and how you should think about drawing so that you can improve and get better. For this two-part lesson, we will be drawing two person laying on the grass with all their books and shoes scattered all around. That's analyze their reference photo we are using. This is a fantastic photo because we know how people look, but we don't know how they look when they are upside down. And in this case these two are lying on the grass. So this photo will actually force you to draw what you see rather than what you think you see. And when I look at unusual subjects, first thing I like to do is to take some measurements first. So I'm going to measure the width of this person who is on the grass. This is the left edge and this is the right age where my Tom is. The meet point is somewhere here to the right side of this genes. And height is this, and the midpoint is somewhere here. So the midpoint for this person, if you look at this as a rectangle is actually somewhere around here. So this is going to help you gauge the proportion when you draw on later on on the pitch. And also with this person, we need to find out how the lines are aligned to each other. For example, you can see this line here that left edge of the genes. It's aligned to the left of heat here. And we have the feet, which is almost aligned to the hands here. And this feed is lower compared to this feed here. And the hand here is lower compared to the elbow or the shoulder here. And so we need to find out all this different alignments. And later on when we draw, we should not be drawing this line. We then on top of the head, if you look at it vertically like this, for this exercise, I will just be drawing this person. And you can draw this person on your own using the same techniques taught in this lesson. Just make sure while you are drawing this, you have enough space left to draw this. And this lady here, her legs are hired and feet here, so the width is kind of similar. So when you're drawing, make sure that this person takes up maybe less than half the page on the left so that you have enough space for her on the right side. Don't be disappointed if you cannot get your drawing to look right the first time. Even for me prior to recording this lesson, I have drawn this subject several times and I got it wrong a few times. In fact, I'm going to show you guys what are some of the mistakes here later. So while drawing this, I may also make mistakes. The most important thing about improving is you have to identify or mistakes so that you can correct them so that you can improve. And this reference photo is fantastic because it's very easy to see where you went wrong if your sketch doesn't look right, let me find out how much space to use for the person on the left. So the ELBO can be in the middle of the pitch here. So we have measured, we've a leader. So if we have the meet point here, for example, and write H's here, then the left edge will be here. If we have the midpoint here, for example, this will not be enough space because the lat age, PLP year. So that's why we need to find the midpoint. So if we reduce the midpoint, then the left edge will be here. So Kp, so maybe I'll have this width for the person on the left and height. The meet point is somewhere here. So the high we have the meet point here. Maybe you can place it higher because there are some books and camera here. So maybe we can push it a bit higher. So I'm going to place the elbow here somewhere lower on the page because the elbow is actually lower than the mean point. I'm going to place a little dot there to mock up the elbow. This elbow is actually lower than that midpoint. The mid vertical line, remember, is to the right side of the genes. So maybe we want to draw the gene service. And the height of the genes is about, let's just say it's one unit and it's one unit for the genes and their union. From the genes where we reach the elbow. So we need to have maybe slightly more than two units here. So let's draw the genes and pay attention to the right vertical line. So make sure that the line here is actually semicircle. And we have two genes. Ludus is one unit. Is this a vertical line? I'm actually not too sure because my reference photo is tilted at an angle. I'm looking at it. Anyway, the lines here should be curve like this. Next maybe we can draw the glutes here. So this line will come down at an angle. Now while drawing, your brain is going to constantly fight you to decide how to draw the lines, where to draw the lines, what angle to draw. Our focus really on what you see drawn you. What do you see to own, draw what you think you see. So this line comes down at this and go and this line crease that goes to the left side that ends somewhere on the left h of this genes here. So let's draw this. And we can draw the crease here as well. Okay? And this crease here comes out to the right side and goes down at an angle and goes up, comes down. At this point, I realized that I may have drawn my sketch a bit bigger than what I would lie because ray extends to the right side of each shirt that I placed. But doesn't matter because I know that I have a tendency to draw beaker, then what I usually measure. So to compensate for that, I usually try to draw a smaller. All right, Next that's maybe continue here. So sometimes I like to draw from 1 and then jump to different areas to draw. Let's draw the lake. So this line and these genes that come out here, it's actually horizontal. So let's draw a horizontal line. And it goes up, there is a curve. The end of the genes is actually lower compared to this point. So maybe to make it easier for me, I would just draw the end first. And when a police ID, maybe I should draw this first K. And so I'm going to place the and some where here, below this point here. And n of the genes has to be, let me see. It looks right to me. So this is how it should look. And we have a little curve here that goes down like this. And now, once I have drawn the n, I can connect this to this pot here. I find it easier to draw this way rather than to draw from here continuously there. Again, if you can spot any mistakes that I make, that is great because you are really observing. Because sometimes I'll drawing, I can't, I can identify the mistakes that I make. K. So we know that this is kind of like a cylinder shapes. So we can add some trees, some circular lines, some curves onto the genes to give the illusion that this is a cylinder shape. Okay, For the feed here, the feed goes out to laughed. This line is almost horizontal, so we can draw this horizontal Lee and we can draw some toes here, the other line here, the other each year it's actually a curve. So here we can draw. Am I drawing it right? So next let's draw the hands. The left side of the hand is somewhere below the feet. So I'm going to draw on the shit, the end of the shoot first, which is P load this part. So this is a drawing process if you find it tedious. Yes, it is. Because everything that you draw, you have to measure with all the other things that you have already drawn in order to be accurate. So if you want a sketch to look accurate, you have to always be measuring and comparing with orderlies that you have already drawn. The hen here will curve up slightly. I'm not very good at drawing hands, so I'm just going to draw it really quickly. Sometimes when you draw too slowly, your lines will appear to look more steep. So sometimes I like to draw a bit quicker so that it aligns. Look more blues, more like a sketch. Okay, next, let's draw the crease here. These crease here we'll go to the right side as stop right here beneath this line here. And since I'm here, let's draw that feet down here. Okay? And it doesn't look like a feat. It's okay. Okay, so that's moved down to the shift. Again. This line this line should be here, Okay, I think it looks all right. The should and will go down slightly like this at an angle. We can draw the crease on the floors on the shoot as well. Or if you are painting this with watercolor, you can actually leave out all the lines here and draw them, pin them with watercolor. I'm using a different pen here compared to the fountain pen that I'm usually using because we've found a penny. If you keep the pen tip exposed all the time, the ink will dry because I'm recording these videos. Sometimes I have to keep the pen tip exposed while I'm talking. So that's why I switch to using this roller ball pen. Okay. So this is where the left edge of the hit is. The left HER to hit is right below the lab. Each of these genes here. So let's draw that here. And the head actually comes up to this line here. And a hey, we'll go down here to write hL behavior code out here. So that's broader here like this. And hair seems to extend out a slightly. The hair seems to be coming off from this area here. So we can draw the lines here. Try to follow the curves that you see on the hair. And lions here actually come out what this k, this is because it looks aright. This sketch looks all right, so far. I can add some trees here. Okay, If fall the right side, That's have this line that goes up. This is where the hand is. The hand is located slightly up here. The bottom part of the hand is actually here and it looks like a horizontal line. So let's draw that worst because it's easier. And this is the 2D line and this is the shirt. And we have a line that goes up like this. And at this point I realized that maybe I should have extended this L poll here. So that's extended dare. And draw some crease, some force for the shit. So this is the sketch I have so far and it's not too bad. I may have gotten some of the angles are wrong, but the overall shape of this person, I think it looks or right. And I can see some ink blobs created by this pen, which I'm really little hike. So let's draw the shoe here, though shoe is lower compared to this line here. So that's fraught issue here. K joined a shoe is so much easier compared to the person. And we have another shoe there. The shoe, the left shoe is behind a feet. So if you draw an issue here, it may make the feet more difficult to see. But by drawing the shoe behind the videos, you can also create this overlapping element to create a sense of oh, crime background. So I'm just going to draw the shoe behind a feat. This is art, so you can decide whether you should draw the shoe behind a feed or draw it away from the feed. If you are taking a photo, obviously won't be able to do that. So I'm going to add some shoelaces to make it clear that this is a shoe. This, together with the lady on the right side, are the most challenging subjects to draw for this particular scene. So once you have drawn them all, the other elements in this thin, like the books that falls on the ground, on the grass. Those are relatively easier to draw. So let's draw. What are some of the items on a crown? We have a camera here. Oh, I actually drew LCD screen on this camera, but it's not a modern camera. So you can see how my brain is telling me to draw the LCD. But if you look closely, it's actually not a modern camera is not a digital camera. So just plays all this aliments at the correct position relative to the person on the grass. I'm going to draw this book here. First because this book is on top of the file here, which is pleased at an end goal. And I can see the thickness of this files. I want to add some thickness. I can also see a lot of paper crammed into this file or folder. So let's draw those loose sheets of paper, make sure the lines do not attach, otherwise, you will lose clarity here. This is a book. Maybe we'll want to DTUs here under, oh, maybe make this folder bit thicker. So I've just added more items on the grass. We have sendall here, which I believe belongs to the lady on the right side. So these are really fun to draw because they are overlapping elements. Next, I want you to go on to draw this lady here on the right side. And if you find it challenging to draw her, my suggestion would be to use pencils to mock out the shape, the size that you need. Macau the general composition and the angles before you draw with ink. Or if you want to challenge yourself, then go straight with income. But be careful. Alright. Span a lot of time observing what do you see and draw what you see, not what you think. You see. 6. How to Get Better at Drawing: Let me show you some of the rough sketches I have made in preparation for this lesson. We are going to look for the mistakes and see what went wrong. I'm also going to give you some tips on how you can get better at drawing. And now let's take a look at some of the rough sketches I have made in preparation for this lesson. And we will try to find a mystics and see what went wrong. So I can see this angle here. It's quite similar to this angle, but if you look at the reference photo, the two angles should be different. So this angle should be like this. Instead of like this. I have this line that cuts the shoulder dislocation up. There is actually a minor mistake. The details with the chin are or can be considered minor mistakes. But the exterior, I mean, if you get this angle wrong, then all the angles within the ship will be wrong because you got the exterior angle wrong. Let's see where the hand is. Okay. The Han is above the hay here, so it's right. So I have to keep measuring to see what is wrong here. But the main thing is really this angle. Because if you take a look at the reference photo, the person's seems to be taking up this shape. Whereas my sketch to possess taking up this shape which is more vertical, also there is this error here. So I can see a few lines that I have drawn. This little area here is much smaller in the book, though I've drawn this bigger and because there are so many lines, it's confusing. The clarity is not there. So I've made three sketches here. And this one looks or right, I guess. Except for the hand. This hand is 2D that up. It's likely more than what I would prefer. So I actually preferred this sketch. Here. With this sketch, you can see the shape of the person. It's slanted. So it looks more like reference photo compared to what I have here, which is more vertical. The other thing to take note is the proportion. So here I have one unit for example. And here it's also one unit. If you take a look at the full, though, their space taken up by Daesh shirt is actually going to see that two units relative to the one unit of the genes. So here my proportion is off. But for some reason this sketch still looks. All right. For this catch, the proportion is slightly more accurate. So we have one unit here and homos, two units here for the shoot, Let's look at the lady. So this is my first and try and I got the Alix wrong. The licks should be some thing like this. So this curve actually goes down to below the kneecap here, and this is where it picks are. So it should look something like this. My curve here goes down to where the Jesus is like one continuous curve. But there should be two curves, one and not a one here. And also my alignment is off. If you take a look at the reference photo, the the feet here should align to the kneecap. Here. Here you can see my kneecap, it's much lower, so this should be longer. And in fact, I've drawn this tie a bit too short for this second trying. I have drawn the two curves here, but the lakes still looks off slightly. And this line here should be one continuous line. So I've drawn this like 123. So it looks off here. If you don't have that continuous line, it looks really weird. The midpoint of this lady is actually somewhere to the right side of the bracelet year. And this sketch looks more HSD. If you look at the reference photo, you can see that there are space taken up by the lady is actually much wider. But here I've drawn it more squash. So when you're drawing this makes sure you draw. Get the correct with the legs here look shorter because I got the weave. Wrong. So if the wave is actually much wider, tendon links will appear to be longer and will look more accurate. But this here, the 12 or three lines, It's definitely clearly a mystic. That's complete this sketch by drawing the lady. At the same time, I want to talk about how you can get better at drawing. So before I draw this, I'm feeling a bit apprehensive because I can get the Troy wrong, it may not look right. That's part of the drawing process. You have to make mistakes in order to improve. And sometimes you really have to just jump right in. In the case for drawing, there is actually no consequence to making mistakes, especially when you are drawing casually just for fun, just for relaxing. So just jump straight in and through all. Just drove, have Lee mind lines, angles where they going just as much as possible. Focus on what you see. To get better. You have to put in the time to practice. Drawing is very similar to playing a musical instrument. You have to spend the time to practice to get to know your 2s. And the more comfortable you are with your 2s we felt techniques, the more natural, the more relaxed you are, the better you will be when it comes to drawing. Making a conscious effort to identify your mistakes is a great way to improve. You can definitely learn a lot just by exploring drawing, just by practice on your own. You can learn faster when you are learning from books or video tutorials such as the one that you're watching now, you can learn even faster if you look for mentors and get feedback from your mentors because there is this one-to-one feedback. Your mentors can help you identify your mistakes and will help. And by identifying your mistakes, it can help you learn much faster. So if you're just learning on your own drawing, that's perfectly fine. You can learn at your own speed. But if you want to learn it faster, you have to learn from books, lived from other artists, learn from your friends, lived from mentors, limb from teachers. It really depends on how much you want to learn and how fast you want to learn. Don't be afraid to challenge yourself. In fact, you should always be challenging yourself when it comes to drawing. If particular scene or subject is challenging to draw, just go ahead and draw it because there is no consequences. Again, sticks, especially if you are just drawing in a sketch book. The worst thing that can happen is just me. You would ways the page. It would have a lousy drawing on your sketchbook. And you would have to start a new page or start on a new piece of paper. But that's just part of the learning process. Back to the analogy of learning drawing, as if you are learning a musical instrument. Once you have mastered or less Nazi Muslim, once you have learn of view drawing techniques, that you should always be practicing. Those techniques often, just like you would with a musical instrument. You have to be practicing all the time. Otherwise you may be, you may turn rusty. K is this part here. It's a bit challenging because I may have drawn the wrong. So let me see how I can fix this. And drawing is about solving our problems. It's almost like fixing a jigsaw puzzle to get there, it's very challenging. It stimulates your mind. And once you piece all the pieces together, It's very satisfying. So that's draw the legs here. So earlier on I mentioned about the curves throwing multiple lines. So this time I wanted to try and draw this as a single. Smooth alliance. So we can give this the lady or mov ty, From what I can see in the photo, the kneecap shoot and some where here just to the left side of the elbow here. So once again, this time I want to draw the kneecap first. I want to draw the H here first and then join it to the pens there. So that's Freud. If you are not sure, you can always draw slowly. There is no time limit. So now that I've drawn this, I wanted to draw a smooth curve town. Okay? And here I wanted to draw this line down here. So that ends here at what this is, is these genes That's draw it here. And turn slightly L here. Okay. My tie may be a bit thicker. What as shown in the photo. I'm now looking at the negative shape, the ship taken up by the grass. And I realized maybe I have drawn this shape here it off. So when it comes to drawing the lake here, it's going to be challenging because I won't be able to draw the negative shape here, accurate the as what I've seen in the photos. So that's just draw that, just continue and see what happens Here. It is. Let me try and get the angle right. We have a toll here. To arch of the root is lying here and it comes down slightly, goes up and comes back here like this. Okay. Maybe I want to add TO I cannot see to toe in the photo but I feel like I should add it told there. Okay. So this feed, as you can see, it still looks off. Mostly because this negative shape is off. So if you want to draw this more accurately, the technique to use would be to draw the negative shape here instead of drawing the feet. So once you have drawn the negative shape here, basically they're shipped taken up by the grass. The feet will appear on its own. As I look at this sketch from a far, this portion looks right. This part looks all right. So it's just that I drew wrongly at the wrong angle. When you look at the reference photo, you can see the feet and the body seems to be taking up is ankle. But for my sketch, the shape is like this. So it's off. Currently deciding whether to fix this mistake. This is a major her mystic compared to the one that I made a leader. I'm wondering if I should redraw this. Maybe I should, maybe I should, but I'm not too sure I am undecided. So I decided to just go for and see what happens. So that's just draw the line here. And this is the kneecap. So now I have the left h. I know that this is correct because the feed is aligned to the top of the knee cap. And we have the kneecap here very close to the toes here on the left side and slightly lower. So we can draw the line here, and we draw this line here. And we can draw it. Sorry to the cough. And a line here. This look that der it looks weird because there are too many lines. So let me just use my whiteout to correct this. I can do this because I have no intention of painting watercolor over the sketch. If you wanted to paint watercolor over this with the white up current correction. It's not going to look good with watercolor. Okay, let's erase this line. So that's why earlier I say if you find a sketch challenging. You may want to use pencils to mock out the general shape and proportion first. And also, when you use pencils, you can identify potential problematic areas. He goes through it with AIG, are you really have to concentrate? If you lose concentration while drawing, you are bound to make mistakes. Okay, So after I have used and white out to correct this, we can see that the feet now looks better. It still looks a bit off. So it looks off because this line should be like this. It's just off that slide by slide millimeter. So again, let me just try and correct this. Depending on your work. I mean, if you are doing client work, if you are creating art to sell than you need to be even more careful. For me, I'm not too bothered by correcting mistakes with white out here. It was certainly look much better with our audit corrections. But I'm drawing in a sketchbook. I really don't mind doing this. However, if I'm drawing with the purpose of painting watercolor over it, then yes, I need to be more careful and I would most likely use a pencil to draft out some rough sketches first, seen as outer radii correcting the mistakes with whiteout. I also want to make an adjustment here to misalign higher like this. Okay? Yeah, let's erase this line. That's the thing when it comes to working with sketchbook. Once you use ink, you can't erase it. If you are drawing this digitally, you can undo as many times as you need. After correcting the mistake, this sketch looks so much better. It could look battery if I actually have all this moved to the right side. So this is again where using pencil marks to go the shapes that are proportion and a composition first would really help. So now we have some whitespace here. You can write some notes. If I'm painting this with watercolor, and most of the time I would be painting the primary colors that I use for mixing here on the site so that I can remember the colors that I use, the more you draw, the better you will get. And it also helps to Butte confidence. It's going to make your lines, your drawings look more confident. And it's very important to identify your mistakes, correct them so that you can improve. For example, here we have the leg. Eve didn't know that it's a mistake or I know that is a mistake. I don't know what's actually wrong, then I won't be able to correct the mistake. So you have to know that it's a mistake and you have to know how to correct a mistake. Hopefully, with all the lessons that I have taught you, you can now know what looks right and what doesn't look that right, and why it looks good and why it doesn't look that good. Even for me after drawing for so many years, I still make mistakes. So your homework for this lesson is to go look for complex scenes, challenging perspective scenes or subjects where you are scared to draw for whatever reason and go draw them. 7. Drawing portraits: In this lesson, we are going to draw portraits. Portraits and human for you guys is not easy when it comes to drawing. We shouldn't draw some objects because they are easy to draw. We should also challenge ourselves by throwing subjects that are difficult to draw so that we can improve. In this lesson, I'm going to teach you some basic techniques to drawing portraits. And we can also look at some of the mistakes I have made. Let's look at the reference photo we are using for this lesson. You can download the photo from the Downloads section. I have also provided you with an additional full dose if you want more practice. This is king Romania. I'm not sure which king he is in the line of kings in Romania has. This photograph is said to be taken between 19201925. And this is a wonderful portrait because we can see the shapes to angles created by the site profile. We all know how people and faces look wild. Run this, your brain is going to constantly tell you to draw the phase in a way that you'll know. However, you shouldn't let your brain take over when you're drawing, really focus on getting the angle's getting the shapes, placing the features at the correct location. Focus on observing what you see rather than what your brain is telling you. While drawing this, your brain is going to fight you constantly and it's going to feel weird. My suggestion is to embrace that red fueling because this is something you are going to experience over and over again. This is pot off making art. I'm going to start by placing my fingers on the pitch to mock out top and bottom boundary of the hit. My index finger is where the hair we would joined a forehead and my atomic areas, the bottom often appear. When drawing. Really try to focus on getting the angles right. And I'm placing the head away from the edge of the pitch so that it's not going to look like the guy is kissing the H off to pitch. So really focus on getting the angles right. This line is, the forehead is not going to be completely straight. The line is going to move slightly to the right and then it's going to move down slightly. Sometimes it may be better to draw a Foster so that your brain doesn't have time to think. Next, I'm going to draw this nose here, or this line here will go up slightly like this before it, before the angle changes very slightly like this. The high Delta forehead is some moles the same as the height often nose. So I'm excited to notice slight taller, so we need to make sure to notice it's slightly taller. My notes here seems to be a bit too sharp. Our brains are incredibly perceptive. So if you make a slight mistake, your brain will be able to spot it straight away. Next weekend, draw the most stretch the left edge of the most statute we will not cross that left h often nose. This is the bottom of the most touch em we have to be at, at bottom. The BMT seems to have a total height compared to the most touch, but same thing to be at shoot not cross that left h of the nose. And the most Dutch. While drawing this, it may be good to look at your sketch from a far to get a sense of whether or not you have maintained a ship accurately. Next time he went to draw this line here that comes down decrease. I can add some details here just to mark out the general shape of the eye is extremely challenging. While drawing the eye on, Let's not think about us as pulling the eye. Let's draw the shape around I, let's focus on the space around the eye. First thing I want to do is maybe draw the little crease here. That's dots here. So we have discrete sticks dots here. Yeah, that crease dots are right here, nearer to the eyelash maybe here. Versus small crease to mock out the boundary. And the left edge of the eye will start somewhere here as well. I will go up slightly the islet and we'll come down like this. The left side of the eyelid is going to be has less with competitive right-sided dilate. And try to make sure you get the angles right. When drawing the eyeball. And don't think about us drawing the eyeball and draw the space around the eyeball, maybe draw the eye white. I'm drawing right here. I'm going to draw the bottom eyelid with very thin lines. And maybe now I draw an eyeball. That's make this circular. Maybe place a line here, a really thin line. I think it looks all right. Maybe to space here is a bit too wide. If you look at read and nose is if you have this vertical line that goes up. Yep. Okay. So dash should be a little gap here, but my gap seems to be a bit too white. So I'll brands I incredibly perceptive, even if it's just off by one millimeter, you will be able to detect that so-called era. Let's draw the eye here. This eyebrow, I've drawn it too high. If you are able to spot the mistakes that I have made while drawing that is grid. It really means you are observing with us. I have not great at drawing portraits as well. The drawing techniques that you use for drawing portrait is the same drawing techniques that you use to draw any ADA subject. Just that when it comes to drawing portraits because our brains are so used to. I mean, we know exactly how people should look. So even if the measurements, the angles, the distance, the proportion is off slightly. I'll brains will be able to detect dose, those measurements, those mistakes. Next, let's see what I wanted to draw. I want to draw this hair here, which I have already drawn slightly. When drawing the area here, make sure to, I mean, we're enjoying a hairy, I'll make sure to focus on the space here as well. For example, if I'm drawing the hair at the top, I'm not just joined a hair, I'm also focus on the space that I'm creating here for the forehead. This line, let me just play some really small dots here. Just Tomoko Harris seems to be where the hair line is. We need to focus on disk space. Here, you can see in the photo there is this skin takes up the highlighted area takes up this space here. That's where we want to make sure that this shape is right. What do we have here? Let's draw the year. Do we have to shape now? Let me see if we have to shape right now. I may want to push the hair in for dinner or some wrinkles. So maybe I want to draw the wrinkles. The wrinkles are all slightly wrinkles with really thin lines. Next, let's roll an odd year. We have some hair here as well. The year, the top of the year will align to the right HLC, the eye here, this point here. So the top of the year should not go beyond the I here. Let's draw the top. Let me just mark out the top boundary of the year first. The bottom boundary of the urea is somewhere here. Below the almost hear. Somebody had to meet point with the most Dutch. Now that we have this, we can draw the year joined a top to the bottom or bottom to the top. Sometimes I like to draw the top and bottom first and then join them to Kidder. Sometimes I will just draw the line as one continuous line. Oops, accidentally joined this line to the right side of the year. There seems to be another crease beneath the lower eyelids. So that's what I wanted to draw with a really thin line. It can definitely be quite intimidating to start with a pen. You start with a pencil, Tomoko other general shape and get a general propulsion first as well. The color to white collar rail Stott beneath the year and aligned to the bottom of the most touching the boost up most arches here. The bottom of the year is here. So that's where the color will be. The color beneath the eye here. So let's draw this curve. It's not a straight line is a curve. This line here is longer than the lion back. We have the Beagle color. This curve is like this. This curve is like this. Next, we can draw the head. The top of the head seems to be here. And extreme right age of the hit seems to be here. Now when drawing sometimes I like to just use this movement to get the shape of the hair so that I can draw a smooth line. I think that looks all right, so far. Let's add some more details. Let's follow the direction of the hair. Sometimes it's really better to just draw off faster so that you get sketchy, sketchy look. When drawing or sketch again, tried to look at it from afar to see whether or not you have maintained recognizable shape. Shapes are important. For example, because our brains are so perspective, sorry, perceptive. You see your parents or your friends across the street at the grocery store. Even if you cannot CDF features, you will be able to identify your friend just based on the shape of the head, the body posture, the way the light and shadow is created on, Create a bite of features. You may not be able to see the phase or the features I'm close, but you will be able to identify your front. That is how perceptive our brains are. Just a sketch that I have so far. Maybe I want to add more contrast to the darker areas to create that contrast. I see more contrast here. The malpractice you get more comfortable you will be when it comes to drawing portraits. And the more practice you get, the more confident you will be, and the more confident you are, the better your sketch will look. I feel like my hit is my hips should be wide or definitely should be wider. I know what's wrong with this. Hit it shabby, wider. Texture here I can see some shit here. You can ping this with watercolor if you want. Bottom of the nose here, It's kind of dark. So I wanted to draw them. The ray here, here. And here you can see to shade with the cost of shadow, it's difficult. It's not easy to differentiate the hair from the shadow. Usually for four lines, we draw lines for anything that will contribute to the form. But for traditional pen and ink drawing, we can also use lines to create shadows. This is what I have and it doesn't it, it definitely looks off slightly. If your sketch also looks a bit off, you can always get more practice and there is the right and wrong way to practice. For example, if you wanted to redraw this again, my suggestion would be to crawl by focusing on the shape door and focus on the detail drawer as simply as you can without any details. Let me just redraw again and focus on the space between the features. Make sure you get the angles right. There was no need to add features like DTUs, like the strands of hair. Just draw the shape of the B it. You can actually draw something like this really quickly just for practice purposes. This does not look right. Just 235 minutes spent. It's not like you've spent 2030 minutes to draw this only to find out that, oh, it doesn't look right. And let me try and draw this again, this time much smaller. You can also practice by just drawing really small portraits. When you draw a small portraits, there is no way for you to add details. You can only draw the important elements. You won't be able to draw the details. Hash it here is off. And also, I've actually drawn this sketch slow rural times. Now that I went on drawing, I'm actually joined based on what I can remember from my earlier sketches. And that can help me. But that can also hinder, hinder my drawing because I may draw what I remember instead of what I am actually looking at. Sometimes when you are drawing a quick sketches like this, they look more appealing compared to drawing like really detailed sketches. The hairline sticks like this, we will happen. It's part of the drawing process. As you can see, the shape of the head. It's like this overshoot, which is not right. Mostly because this bit here maybe it's too sharp. No, it's not. That is because I my angle here is to slender. It should be like this. Let me show you all the sketches that I have drawn in preparation for this lesson. This was the first sketch that I drew, and I've also drawn a lot of sketches just to practice, just to see where I've made any mistakes. And that's the one that you saw earlier. Here's another sketch that I drew with this photo. The angle of the head is off and shape of the phase is off. If the shape of the face is all phase incorrect, the features that you're within hace are going to be off as well. This sketch was drawn, we have to help out this reference photo and I kind of like this sketch. However, there are several areas which look a bit off. For example, the eye here, my eye, I've drawn it with this line that curves like this. But if you take a look at the reference photo, the curve is actually like this. Still, if you look at the photo, the neck seems to be slimmer compared to the neck that I have here. For one I can see the neck line is to the right side of the eye. Whereas here you can see my neck line is to the left side, just directly beneath the eye, which is not right. It's this little changes or mistakes that will affect a portrait. So the neck here can look dinner if I place this line to the right side and this line here, maybe I should place it to the left side slightly. Once you're more comfortable with drawing people, then you can add colors, disaster, pen and ink, sketches with watercolor. These are people shopping at, or vegetable market. That's my water slipping, which is two years old. Back then. If you wanted to learn more about drawing human figures and portraits, these are two books I highly recommend. This is sketching people and Urban Skechers manual to drawing figures and faces by Lynn Chapman. The title of this book may differ depending on the publisher, but the artist and authorise Lynn Chapman, This is draw people every day by CagA light. There is a lot to learn when it comes to drawing human, the gutters, and portraits that I am not able to cover in this short lesson of mine. And it's very interesting to checkout the stalls of different artists and see holiday approach drawing people and faces. These two books are books I highly recommend when it comes to drawing portraits and human figures. And you don't need to add colors, and you don't really need to draw that much details. Estimate books will show you. You just need to get the right shapes, please, the right features at the right locations and your sketch will look terrific. 8. My Approach to Sketching Pt1: This lesson, I wanted to share a view of my approach to sketching while I sketch and paint this in real time, reference photo is provider. Should you want to practice? By the way, the building I'm drawing is Flinders Street railway station located in Melbourne, Australia. My approach to sketching, to creating art is very simple. Just enjoy the drawing process. Don't think too much about the end result and definitely don't think too much about the mistakes. If you enjoy the drawing process, you will keep coming back for wall. While drawing, just look at how the ink comes out of the pan. Look at how the watercolor florals, even if there are ink blobs just at Maya, how the ink blobs seem to accidentally create themselves. If you'll look at your sketch or your art and all you see are the mystics. Or you think as how you are not improving as fast, then you are actually attaching stress to your art. So each time you look at your sketches, you are going to remember the stress. And it's going to be a very stressful experience. And if it's a stressful experience than you probably won't be sketching and fat much. However, if you really enjoy your art, really enjoy the process, the creative process of creating art, of sketching. Then you will be able to and joined a satisfaction of making art for this sketch, I actually went straight with ink. I didn't use pencils to mock out the composition or the proportion. I guess if I use pencils, I can draw this beauty being more accurately. But I went straight with ink anyway because I just feel like going with the flow today. I just feel like putting my pen on paper. I have no idea how this sketch is going to turn out and it's okay. Because I just wanted to enjoy myself by creating a quick sketch to date. No matter how this looks in the end, I am still going to enjoy myself. There is this analogy that I always like to use to encourage students who are learning to draw. And it's, this. Learning to draw is verse similar to learning to play or a musical instrument. When you are playing a musical instrument, you are going to play the wrong notes for several days, several weeks before you can play and actual song. Even if you can play an actual song, the song may not be at this rhythm that you want because you are not skilled enough, because you are not confident enough. While you are learning how to play the musical instrument, you are not focus on the wrong notes that you have played. You're actually focusing on getting to play the right notes at the right rhythm. You don't have time to think about all the wrong notes that you have played. That is the same approach you should use for sketching as well. When you're sketching, you should focus on learning how you can improve. Yes, You will make mistakes. Just don't repeat the mistakes. That's all you don't have to think too much about the mistakes. You don't have to spend so much time and thinking about a mystics. Sometimes while drawing, I may focus on the accuracy on the likeness. But sometimes I would just focus on the impression that I'm trying to create. If I'm actually a sketching on location, I want to capture the feeling of me sketching on location. I want to remember the weather, sights, and sounds that experience. So in that case, the result isn't that important Because when I look at my sketch, I will remember that date and location, the time and a wetter where I created the sketch. Not so much off the end result. If the end result looks great, that's fantastic. If the end result doesn't look great, It's alright. Don't sweat the small stuff when you are sketching. Not all details matter. Because not all details matter. You don't have to include all the details. If you really wanted to have all the details, you can just take a photograph in state. When I'm sketching the things I think about WIP B, size and proportion. First, I have to make sure that the main subject is able to fit onto the page. When I'm drawing, I'd want to run out of space halfway. That really sucks because then I won't be able to fit my drawing onto the page. Obviously, as you get more practice, as you get more experience, you will develop this sense of awareness as to how much space you need. You will also be more competent with your skills. Again, this is very similar to playing a musical instrument. When you are more comfortable with your tool, you will be able to perform better because you understand the tools, you understand the techniques, and all this will take time to develop. So if you are not improving that fast, it's alright because everyone learns at their own pace. Drawing is a skill and it can be learned. As with any skill, you have to keep practicing or else you will lose your touch. I recommend you draw may be once every few days. If you can draw every day, that will be good. But the thing is we are also busy nowadays. Sometimes it's not easy to find time to draw. However, if you make a small sketches each day, you can actually draw every day. Otherwise, just draw once every few days to maintain your skills. Sketches coming along quite nicely. Even though the lines are very loose, very sketchy, straight lines are wobbly. But this sketch looks good to me because it looks recognizable. I'm very sure that if I am to show this sketch to someone who leaves in Melbourne near the railway train station. He or she will be able to tell at a glance what I'm drawing, even with the wobbly lines, with the perspective a bit off with what the lack of details. I didn't even draw many of the windows and I don't have intention to draw all the windows because it's not necessary to draw all the windows. Because not all details are important. The important details here would be the shape of the building, the physical form of the building. Once you can create the shape and a physical form, that building will be recognizable, you can add some DTUs are some of the key features to help people identify, sketch the building, but you don't have to draw everything with art. What you don't include is sometimes more important than what you include. A sketch like. This will take me around him minutes to complete. How much time it takes me to complete a sketch will depend on the complexity of the sketch as in how much details I have to add, and also how difficult it is to draw the subject. If the subject has very challenging perspective, I actually need to think in advance how I should approach the sketch. The drunk process is actually quite fast. Sometimes I spend more time on other things such as finding the right reference photos to use. And if I'm on location, sometimes I will take too much time just walking around. Look for the right composition, the right s2 draw. But once I have the right scene to draw, the drawing salary is actually quite fast for an A5 size sketchbooks such as the one I'm using here. If I don't add a lot of details to the sketch, I can complete a sketch in under ten minutes. But usually if our add more details, it would take me around 30 to 45 minutes just bought pen and ink portion. And when I paint with watercolor, that's going to take me around 45 to one. Our painting is going to take more time because you have to wait for the paint to dry before you can. Subsequently, with my experience, you will usually know how much time you will need to complete a sketch. How much time you take to complete a sketch will sometimes determine how your sketch will look. If you don't have time to sketch, you're going to sketch faster and your lines are going to look looser. However, if you spend a lot of time on your sketch, your sketch is probably going to look more detail, but your lines can sometimes appear steeper. This sketch, I took me just under ten minutes to draw, and I'm very sure there are inaccurate sees mistakes such as this area here. I didn't even draw all the windows, but that doesn't matter. What matters is, I really enjoyed drawing this and I like how this sketch looks. You can have a sketched out, it looks really nice. The execution is perfect. But you may not like that sketch that you have drawn. But you can have a very loose and sketchy sketch that you would put on really quickly and you love it. Ultimately really depends on whether or not you enjoy creating art. The results sometimes just doesn't matter that much. 9. My Approach to Sketching Pt2: In this lesson, I want to share a view yourself, tips and techniques on how I use watercolor to paint my pen and ink sketches. My first tip to you would be to use a limited color palette. Just use one yellow, one red, and one blue. When you use a limited color palette, arisen much to think about when it comes to color mixing. For example, if you want to mix an orange, you can only use the one yellow and a one rate that you have. You can still create a lot of variation. We have just two colors. For example, you can vary the amount of pin you use, the amount of water you use, and when the wash is still wet, you can charge in and that a color to create color blends or gradations with two colors, you can still create a good amount of variation by next year for you would be to explore the colors that you already have in your color palette. Find out what are your favorite colors. Try color mixing where those colors that you already have your palate. Understand their limitations, what they can and cannot do. Don't buy too many colors. Just explore the colors that you already have. For example, if you want to mix a vibrant purple, you have to find a right combination of red and blue to mix the vibrant purple. Not all reds and blues will give you purple. For example, if you mix phthalo blue with a warm red, you are going to get a color that is almost similar. Her looking to black. That's the color that I used to mix really dark colors. I don't use phthalo blue and piracy rate or any other one rate to mix up purple. So explore your colors and see what kind of color mixtures you can get. You will be surprised when you realize there are certain colors that you cannot mix. That's the time where you can buy a new color to mix the colors that you can't mix. The yellow I have in this small palette is Daniel Smith's azo yellow, which is a really vibrant yellow. And red is transparent power orange. You didn't know the name of the painter suggest the color is orange. But it's actually a very warm orange to the extent that it looks like a red. So here you'll see me paint the buildings in the background, actually paint the earlier building. We have cobalt blue deep mixed with burnt sienna. Cobalt blue tape is considered a warm blue. It's kind of like ultramarine, but the color is actually the, for lack of a better description, deeper, the bluest deeper compared to how our trauma renal looks. And it has this very beautiful granulation that I really live. I like to use cobalt blue deep instead of French ultramarine for this palette. However, the downside of cobalt blue deep is you need to use a lot of paint allow of cobalt blue deep in order to get the intensity. That's because cobalt blue deep is what I will consider a little sorry, a color paint with low tinting strength. So far paint we have low tinting strength. You need more paint. Fatal blue, which is the other blue that I have in this palette, is a paint with high tinting strength. I just need to use a tiny bit of phthalo blue and I can achieve very intense blue. Then half pad off the theater blue that you see in the palette. I can use that for several months. But for that cobalt blue T, I have to review it. Very often. Cobalt blue deepest, not C, not a cheap color is actually one of the more expensive colors. So if you need to replace it regularly, it's going to drive hub, the cost and how much money you have to spend. With watercolor, you don't actually have to spend that much money, as I have suggested and recommended earlier. If you use a limited color palette, you don't have to buy that many colors. You just have to buy big 15 ml tube soft paint and they can last you for a very long time for this sketch. When I paint it blue, I had to make sure that yellow paint is dry. If the yellow pin is not dry and I paint the blue which is just beside the yellow. The blue is going to blend into the yellow and it's not going to look nice, it's going to look very untidy, is going to look like a mistake. So with watercolor, you need patients. Sometimes you really do need to wait for the paint to dry before you can paint the second layer. Unless you are going for wet on wet facts, then your wash should be wet. But if you want to keep your paint, sorry your colors neat and tidy, then you should wait for the initial wash to dry. If you take a look at the reference photo, you can see the building is mostly yellow with spots of rate. For my sketch, I painted the whole building yellow with the intention to paint right on top of the yellow. I do this because it's easier compared to painting the building yellow while leaving areas of white. For me to paint, the rate. If I leave tiny areas of white is going to be difficult to create those tiny areas of white to leave those areas white. And also it's very difficult to paint the red neatly in those white areas. So far I have painted a yellow followed by the blue and then the red. Right now, I'm painting the darker areas. I'm painting the darker areas using the mix of cobalt blue and burnt sienna. If I need the black to be darker, I need to use phthalo blue. And sometimes I do use phthalo blue. But I try not to use the pale blue because the color is way too intensity is not easy to control. Phthalo blue because it's just a really strong, vibrant color. I did not draw the windows with pen and ink because I have planned to paint the windows with watercolor. I could have drawn the windows with pen and ink. I could have drawn rectangles and squares. But when I paint the windows with their darker colors, the outline of the window will disappear. So it would be better not to waste time to draw the outlines for Windows. Having a watercolor brush whereby sharp tip is crucial to painting details. If your brush has a blunt tip, it's very difficult to pin details. It's very difficult to paint in tiny areas. There are some banners on train station. Instead of leaving white space for the banners, I painted yellow over the front of the building, and I use cobalt blue deep mixed with burnt sienna to paint the banners in front. It's easier this way. This sketch is actually almost complete. I wanted to add some clots because the white sky seems to be wide, glaring against the beautiful and vibrant Building. So I wanted to add some plots to make the sky last glaring. The sky was mixed with our mix of cobalt blue and burnt sienna. Here I'm actually adding some extra details with my pen. This details are actually not necessary. And here I'm using this yellow posca marker to add details to the main entrance of the train station. And for this car, I want to add two dots to create visual interest. I like to use my white gel pen to add details as well. To paint something like this with watercolor will be very difficult to have the whitish show clearly, the background color must be much darker. You can make almost any subject look dimensional by painting or adding shadows, photo shadows that you see here. It's actually mixed with cobalt blue deep M burnt sienna. If you're using a limited color palette, again, there's nothing much to think about when it comes to mixing shadows. Just mix using the three colors that you already a half. Shadows are often quite dark or can be quite dark. So you may have to use more paint than water. If you are not considered with mixing share dose, you can always paint or test your shadows. A little small area of your sketch first before you use it to paint like huge areas, like what I'm doing right now. I'm just going over the whole sketch to add shadows to make certain areas pop and move into the front. Before you paint shadows, make sure that the earlier washers are completely dry. Otherwise, the colors, the paint will blend and you are going to get a messy look. Make sure the shadows and the light source are consistent. In this axon pole, the light source is coming from the right side. There are some shadows on building because they are cast shadows cast by the buildings on the right side outside of the photo. Right now I'm just adding finishing touches with my postcard mark GRS. Adding spots are re to suggest people on the street or traffic lights. Spots of white to suggest people, human figures. These are spots of white to suggest lighting under the part of the building. Lastly, since I have some whitespace left on the right side of the page, I'm just going to paint some color swatches to help remind me of the colors that I've used to paint this sketch. You should also write down the names of the colors. This is the completed sketch, and I'm actually quite pleased with it, quite pleased with how this turned out. I also really liked the power cables that are just hanging in the air. Here's a close-up on the line, art, the granulation, paper texture, the deed hills. I've got to say that I really enjoyed drawing this and painting this, this sketch book. So this is definitely going to motivate me to paint even more. I hope you enjoyed this sketch as much as I did. 10. End: We have come to the end of this course. I hope you found a cause helpful and informative. Let me give you a quick recap on the techniques. So whenever you are drawing, you should always be thinking about using silhouettes, foreshortening, and negative shapes whenever possible. Because these techniques will make your drawings look clearer and give your drawings more clarity. The look and feel all physical form and make your sketches look more accurate with more practice or this techniques we will go into your subconscious and you won't even need to think about them anymore. In the next course, I wanted to talk about things to happen outside of the sketchbook. So join me in the next cost and before you go and do live this cause a review so that you can help other students discover the costs. Thanks for following along. See you in the next course. Bye.