Introduction to Bargue Drawing | Mark Hill | Skillshare

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Introduction to Bargue Drawing

teacher avatar Mark Hill, Fine Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Bargue Book


    • 3.



    • 4.

      Drawing set up


    • 5.

      Beginning block in


    • 6.

      Beginning block in 2


    • 7.

      Establishing shadows


    • 8.

      Darkening Shadows


    • 9.

      Beginning modeling


    • 10.

      Continuing Modeling


    • 11.

      Finishing the drawing


    • 12.

      Closing thoughts


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About This Class

In this class we'll explore Bargue drawings and how to approach this style of atelier drawing. The original Bargue drawing course was a gateway to the atelier method of traditional drawing for art students and it still used widely throughout traditional art schools. 

I'll show you how to prepare a drawing from the initial set up, and from start to finish a full plate from the book. Theres a few ways to approach these studies, and I'll discuss how to get started with minimal tools. While I highly recommend having the book as a resource, there will be basic plates to work from as well as the plate I do for the class itself. 

Meet Your Teacher

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Mark Hill

Fine Artist


I'm a traditionally trained artist currently residing in New York City. I specialize in traditional mediums from graphite and charcoal to oil painting. I've studied in several places in Southern California, and recently finished my studies in New York at the Grand Central Atelier. I've taught everything from drawing to painting for several years, both publicly and privately. Looking to share what I know and help others on Skillshare!

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Level: Beginner

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1. Introduction: Hey everyone. So today in this class we'll be discussing bark drawing. Now what this is, is these are foundational exercises that a beginning art student when do if they were first entering an academic art school or an LEA style system of training. These plates or barbed drawings that we are copying for this class are essentially meant to develop fundamental skills for the student before they move on to more advanced things like Castro, orange drawing from a model. In this class, I'll take you through step-by-step one of the plates in the drawing course. And I'll go over my materials and how we like to approach these drawings. Especially if you're a beginning artist or if this is the first time that you're doing any sort of academic training. And while ultimately our goal is to end up with a one-to-one copy of our plate. The essence of doing these exercises really to teach you the foundational skills of measuring proportion, shape, light, and dark. The biggest benefit of doing these kinds of studies is the fact that you can take as much time as you need to make sure that things are as accurate as you can make them. The way I ultimately see these exercises, as they're simply a gateway to more complicated subject matter. So if you're interested in, say, portraits are still lives or figures or anything like that. This is sort of a stepping stone to help get you there because you're going to learn all the necessary skills in order to be able to do those other kinds of drawing. Now if you're a total beginner or have no experience whatsoever, I'd really recommend just being very patient with yourself as you do these exercises. There's really no time limit on them. And it's really more about developing those fundamental so that you can start pursuing the kind of drawing that you're really interested in. So follow along, take as much time as you need and thank you for watching. 2. Bargue Book: So I just briefly wanted to talk about the source material where the plates for these drawings originated from. And so this is the Charles barred drawing course, which will have the, the plates that were working from, but also several other types of academic drawings that are really meant to be copied. And this is something that when I was in school that prior to working from actual casts drawings and then eventually moving on to the model is that we did spend a good amount of time working from this book. So some of it was copying the plates, some of it was copying some of the figure drawings that are in the book as well. But nonetheless, if you wanted to follow along with the class, you don't need this book in your library, but it is something I would recommend that maybe at some point down the road, this would be a worthwhile purchase simply because there's just a great catalog of drawings, both in the sense of learning academic drawing, but also just some beautiful plates. Old masterworks that are in here that are just kinda nice, nice to see where a lot of this academic or Italian style drawing originated from. Now the way that the drawing course was set up originally is that the student would go through a series of drawings and they would progressively get more difficult. So it originally started off with linear drawings of just facial features in simple things, and then it would go into more parts of the body. And with each progressive plate, the drawings would get more difficult. There would be more shading, more modelling, and then you would gradually work up to full on portraits, figures, and in some cases, full on sculptures. And so really the idea is that as you move from one plate to the next, you're adding layers of difficulty each time. And you're kind of using all of the skills that you learned previously on the next plate. And so for this class, we're really just going to stick with more of the basic plates. And there might be one intermediate plate that you'll have to choose from to draw. But really what I want to just emphasize is the goal of doing. This is more about learning how to measure and learning how to see shapes in really just the fundamentals of getting started withdrawing. So while there are more difficult plates in the book, and certainly, again, that's why I might recommend that at some point, owning this book is kind of nice to have so that if you, if you enjoyed doing this style of drawing or training, then that might give you some more options. But for the sake of the class, we just want to keep things simple so that we can focus on doing a nice drawing and go through all the different stages of copying a plate. 3. Materials: So before we get started, I just wanted to talk briefly about some of the materials and mostly that you don't need a whole lot to get going with these types of exercises. And in fact, you can really just get by with a few pencils and an eraser and that would be pretty much all you would need. Now the only thing I would really recommend is that if you're working in graphite, like I am for the demonstration, is you would want to have somewhat of a smoother paper to work on. Now for the example that I'm doing for the class, I'm working on a hot press watercolor paper, which you can buy and larger sheets and then you can maybe cut down. Now if you didn't want to go that route and if you have either some paper laying around or are you need to go out and get some paper? I would even recommend just this basic Strathmore 400 series that it's very inexpensive and it's actually a really nice surface That's really, it is smooth. Not quite as smooth as the hot press watercolor paper, but good enough to where I've done plenty of finished drawings on this paper. And it's a great paper that actually can take a bit of punishment if you need to erase. So it's a good overall paper and I always keep some on hand. Now, outside of that, the only thing I would say is that for graphite, you don't want to, you want to avoid like a two the're paper. So a lot of times, you know, sketchbook paper may not be like the smoothest, so I would probably not recommend something like that, but you just want to make sure that it's at least on the smooth ER side. And then the reason for that is that when we're filling in large shadow areas and graphite or even middle tones, is that to their papers you have to kinda spend a bit more time filling in the pores of the paper because the top part of the surface isn't quite smooth enough. So you kinda have to go over the same areas over and over to get a nice even look. I feel that's a lot easier to do on a smoother surface paper. Outside of that, I'm mostly doing the drawing in a HB lead, in a little bit of h lead. So you don't need a whole lot. You can use wooden pencils, mechanical pencils, a pencil with a lead holder like this, and pretty much just an eraser. And then I for small areas I have like an eraser type pen, but that's pretty much it for the material. So you don't, hopefully you won't really need to go and get much and you already have a lot of this on hand. Outside of that, I don't really think there's much else you would need. And if you like I said, if you're let's say maybe you're heavy handed or anything, maybe have some h lead or some two H lead on hand. Sometimes it's nice to even have a softer lead like a B for really dark areas. But outside of that, this is as basic of a setup is you need to work on these types of exercises. And really the majority of our time is going to be spent on the process itself and how, you know, how to measure and things like that. So hopefully that helps if you're just getting started, but keep it as basic as possible for yourself so you don't need to go out and get a whole lot and really more. We just want to focus on getting, drawing and getting our setup nice and easy. 4. Drawing set up : So before we get started, I wanted to talk about my setup and hopefully give you an idea about how you want to approach working from these plates. Now because I'm working a bit smaller and I'm working in graphite. I went ahead and I enlarged the plate to about a 150%. And this could change depending on which particular plate you're working from. But for this particular plate, I enlarged it to about that range. And so I'm gonna go ahead and put it right next to my paper. That way I can make direct comparisons from side to side as I'm working. Now, you very well could choose to work larger if you are going to be working in charcoal. But for the sake of working in graphite or pencil, I don't wanna go too big because then the shadows are going to take a considerable amount of time. But nonetheless, the, you want to get your image right next to your paper so that you can make direct comparisons as you're using either your pencil or some sort of measuring tool. You want to just be able to quickly go back and forth from side to side to make sure you're checking all your angles. And you can just take from one side of the paper to the other to try and get this as accurately as you possibly can. So I chose this plate in particular because I felt that it was a balance of not too simple, but not overly advanced, that it might be overwhelming for people to follow along. And, you know, there are certain plates in the book that are extremely advanced. And we know that's not something we're going to necessarily go over in this particular class. So all of the plates that I've included and within the class are kind of more of the beginning plates just as a means to get started so that you can at least have a good couple of examples to work from, and at least practice doing these kinds of exercises. Now there is also a good mix of light and dark in this particular plate. So we'll have a nice strong shadow shape at the end and then just a little bit of modelling and portions of the foot so that we can get a little bit of that practice in. Now, again, what I'll reiterate with these exercises is it's not so much that we're trying to do these really beautiful drawings. But the main takeaway for me when I was doing these as a student is really just practicing measuring and double-checking angles and looking for all of the things that make up the particular drawing. So we're going to be really more focused on those fundamental aspects of measuring, checking angles using plumb lines and things like that that are going to help us really sort of dial in our proportions. And I feel like that's really the main point of these kinds of exercises. And then the shading and the modelling are very much secondary. It is important and that is something that we do want to get involved with. And I'll talk a good deal about that as well. But for these kinds of exercises, it's really more about how you start the drawing and making sure that we're taking the time to make everything as accurately as we possibly can. So regardless of which plate you're, you decide to work from, the approaches essentially going to be the same. So how we're measuring, how we're plotting angles, none of that really changes from plate to plate. The only thing again, you know, that could be a variable is how much lighten, dark and shadow we see in one given plate or the next, or some have a little bit more mid tones that are involved. But nonetheless, the approach is going to be the same. So if you decide to copy this plate along with me, that's great. If you decide to choose something different from the class, that's perfectly fine as well. So I really just want you to have a good understanding about how to approach this so that you can feel free to do these on your own. 5. Beginning block in: So one of the first things that I'm going to do as I'm starting this drawing is I'm actually just going to take my ruler here and I'm going to just put a light line in for the top and bottom of where my drawing is going to sit on my paper. Now the only reason I'm doing this is to kind of just make it the placement aspect of the drawing a little bit easier. It's already going to be hard enough to try and make sure all my angles and everything else is perfect in the drawing. So just by doing this early on, I'm just kinda, it's just a quick way for me to just say, all right, my drawing is going to exist between these two lines and so I have to make sure everything fits. It just kinda makes that whole process a little bit easier. And it's a simple way of checking yourself before you get too far ahead in the drawing so that you have sort of an absolute border that you have to work into. And so if your proportions as you're building the rest of the drawing start to skew. And let's say you start to make something too long in the drawing by working within the confines of these lines. You're kind of just giving yourself that kind of mental barrier, saying that I have to make sure that this drawing fits in between these two lines. So that's something I would recommend at least starting out with. Like I said, it's already going to be hard enough to figure out the rest of the drawing and make sure that all your other angles are perfect. So this is sort of like a little cheat that you can do, especially when working small like this. And we're sitting so close to our paper, we may not really be getting very far away. So something to consider before you begin your own drawing. So initially starting the drawing, what I'm going to actually go ahead and do is I'm going to start from the corner of the base where the food is resting on. And I'm going to basically create a vertical line, or what we would call a plumb line, which is essentially going to be a true vertical. And then that's going to bisect some of the foot. And then it'll just give me an idea about how I'm going to measure and use other angles as I'm building out the drawing, knowing that I have a true vertical in place. And you see this in a lot of the schematics in the Bargh plates where they will go ahead and put in a true vertical and it will bisect the drawing and sort of in a way, almost make two halves of the drawing that you can kind of use as a guide. So I'm going to essentially do the same thing here. And then also do that with the edges of the, of the base itself. And so what I'm doing is I'm almost creating a box, you could say, or what we would ultimately call an envelope. And this essentially is going to be a large exterior sort of border, or quote unquote, an envelope in which the drawing is going to fit. So depending on the drawing itself, the envelope can look very sort of almost abstract in a sense because we're really just using a series of lines to contain the drawing. And so that envelope may change from drawing to drawing in, I would say every scenario, but it's one of those things where you're just going to want to pick and choose what you do. And so for this particular drawing, just using the base as sort of a guide is going to be easier for me. So that's kind of why I'm building up the base first and then I'm going to attach the foot to it. So now with the base established, I'm going to start carving out the rest of the foot. Initially, I'm going to keep it very simple and all my lines are going to be very angular. Realistically in these early stages. For me, it's more about just getting something on my paper. And so even though I'm going to be measuring the whole time, there's a good chance that a lot of these lines are going to have to be adjusted in one way or another. For me, I would say the majority of my drawings are done that way and that the initial lines kind of just are a means to an end. And the more information I can kind of put on the paper in the beginning, it just allows me to make more concrete decisions as I develop things farther as the drawing moves forward. So keep that in mind and don't be overly committed to those early lines that you put in the drawing because more often than not, you're going to have to make adjustments and those lines will I can almost guarantee it will probably change as you move further along. Now one thing to keep in mind is that I'm not going to be using any sort of contours for quite some time. And I would say that we want to keep the drawing in a very sort of structured stayed for as long as we possibly can. And what I also find too is that as the drawing progresses, we'll kind of naturally start to develop more accurate contours in the drawing. But early on, especially as we're just laying the foundation for the drawing down. I'm going to keep everything is sort of general as I possibly can until I'm forced to make things more specific. And then in this particular case right now, because we're just establishing the large lines, it's going to be incredibly general. And then as we get more comfortable with the information that we've put in, we're going to slowly start carving away and find more specific information. So the whole concept with a lot of drawing is that we're working from sort of a vague sort of standpoint and then gradually working towards things that are more specific, more accurate to what we're seeing. But again, it kind of works in stages. And so we're going to go from very, sort of broad to very specific. And that's just one thing to keep in mind as you're starting out. And depending on the complexity of the plate that you're choosing, this could take a good amount of time. And so I would encourage you to do is in the early block in stages is this is where you want to spend the majority of your time. Because right now the paper is very clean. We don't have a lot of information. And should something arise where we have to make corrections or anything like that, We're in a very good place to do so. And so I want to stay in this sort of phase for a good amount of time until I feel really confident that I can move on and start adding additional information. So your hear me repeat this quite a bit. Is that the block in, in the initial stages of a drawing are really the most important. And I would say for exercises like these in particular, this is what you really want to get out of them, is the patients to just sit there and measure in looking at angles and make sure that everything is as accurately proportionate as you can make it. So as we get closer to getting a rough shape on the paper, again, none of this is really committed to or anything like that. I'm still just kind of getting started and getting the large, the large shape on the paper is sort of the first major hurdle. And then from there it's really more a matter of, okay, Well, what needs to change or what angles are off, or are things lining up correctly from one side to the other? So once we have that large shape established, we at least have something that we can start making comparisons to. But until you get to that point, it's all, you know, it's not guessing really, but it's more of we just need to have enough information so that we can accurately make better decisions. So you want to really give yourself a good amount of time to just get, get something established before you start making any drastic changes. More often than not, depending on which which plate you're doing or how complex or how simplistic it is. You know, as long as you're taking measurements and kind of double-checking everything like that, you may not be too far off, but there's just a lot of the times it's little things, but it's little things in multiple places that will get you in the right direction. So we're again, just kind of establishing this large shape. And then we're going to slowly start breaking it down farther. 6. Beginning block in 2: So now that I have a large shape established in the drawing, I can hopefully make better decisions about where I need to make some changes or adjustments to get the drawing a little bit more accurate. There's some areas right now that I feel are probably a little off, but that's okay. The nice part is, is that I have a large shape that I can work with. And it's going to be easier to make those kinds of decisions about correcting things. Now that I have a large mass to work with, you know, until I have the big shape. Or at least more concrete information, it's really hard to make those kinds of decisions. But now that I have something that is resembling the plate that I'm working from. I can now start making adjustments in, feel hopefully a little bit better about doing so. So I'm just gonna go in and just kinda clean up some of these lines. They are little too thick, I feel and that's okay early on and you're drawing if your lines are maybe a little sketchy or a little bit on the fixed side. But once you, once you have what you need, go back in and trim them down so that you can get as close as you can to a single line. And I think a good part of good practice when you're drawing is to try and just keep things as is neat and tidy as you can throughout the whole process. Because then I think in the long run it kinda saves you some time. And when it comes to the finish. But then also to is that as we're kind of adding more information to the block and the clearer our lines are and they're easier to see, then it allows us to make better decisions. So because if I, if I have a bunch of thick lines or sketchy lines, it's really hard to tell what I intended when I originally drew those lines. So once you feel like you have the line or angle that you're looking for. If it's a little messy or a little on the sketchy side or anything like that, and go back in and just trim it down so that it's nice and clean or as clean as you can make it that way. It's a little bit more useful for you as you continue on in the drawing and use the information you have to make new decisions. So now that I've kind of cleaned up the drawing a little bit, I'm going to go back in and just start measuring everything again. So I'm going to be looking for specific angles and making sure that, you know, one part of the drawing lines up with another part. So for example, like I want to see where, if I take an angle from one section of the drawing, I want to see where it lines up with something else. And so what you would want to do is you would want to make relationships from one side of the drawing to the other and make sure that things are matching. And if anything is off, like if 1 doesn't connect to another in the right way, or is off by a degree or so. Wanna go ahead and start making those changes. And so I'll go through the entire drawing and essentially repeat this process everywhere. And odds are, I'm going to be making lots of minor adjustments over the entirety of the drawing. Now I'll say that I'll keep going through this process until I feel good about the entirety of the drawing. Now, mind you, we're still dealing with the exterior shape, so we're not even accounting for any of the anterior portion of the drawing, like the toes or let's say the shadow for example. So again, we're still in the early stages. So I'm just focusing on the outside structure of the drawing and all spend as much time as I possibly need just so that it's accurate, you know, at this point and there's a good chance that I'll still be making changes as I start adding interior information as well. But I want to try and get the exterior as good as I can possibly make it before I move forward. And then I can kind of make better decisions as I start adding new information. So you can see so far, I've made a lot of subtle changes. You know, I'm still not done and I still, I'm probably going to have to make other corrections, but you can hopefully see from where we started in the first few stages of getting this large shape established how much we've kind of started with a large mass and then whittled it down into some sort of shape that resembles the plate. Now again, this is probably going to go through several transformations in terms of proportion and angles and things like that. But I can only get there by adding more information and then I can be a little bit more objective about what I need to change. And so again, I would encourage you to spend as much time as you need in this stage of the drawing. Because I feel like if you invest the time in the beginning of the drawing when it comes time for shadows in modelling, that's going to be infinitely easier than a lot of the construction process. So just be real patient with yourself in these beginning stages and give yourself as much time as you need. And if you do spend that time up front, the finishing parts of the drawing, I will tell you are going to be significantly easier. 7. Establishing shadows: So at this point we more or less have a completed linear drawing. And so in order to move forward when I want to go ahead and do is just establish a general shadow value to start with. Now, this isn't by any means a finished value, but what I want to go ahead and do is I want to fill in my shadow shapes with just a, what we would call like a middle value. And all this really means is I want to put in a light value just so that I can see the shapes that I've established in the shadows themselves. And it allows me just to see the drawing in a slightly more completed sense. And if any of the shadow shapes feel off or if something jumps out at me in the drawing that I don't feel quite works or something's missing by at least having a very sort of middle to light value in the shadows. It will hopefully allow me to see that a little more clearly. Oftentimes I know that seeing everything in a linear sense can be a little difficult to judge things. So by having a little bit of a light value, I can hopefully see any mistakes or any potential problem areas. Jump out a little more obviously. Now, I will say that, you know, you want to try and make sure the drawing is as solid as you can possibly make it before you start adding in this sort of middle value. Because again, it will be slightly more challenging to make changes if we need to once we've added this new layer of sort of value to the drawing. But that's why you want to keep this value light enough to where it's hopefully not as much of an issue. So I'm just going to try and just put in nice middle even tone and something that is still completely removable if I need to make adjustments. But it's just going to allow me to see the shadow shapes that I've established thus far. And so just as a quick reminder, the LED I'm using pretty much the furthest entirety of the drawing so far has been an HB lead. I don't necessarily need anything softer like a B or a to b. And I certainly wouldn't want to use anything much harder than an HB at this point. And so just keep that in mind depending on what you know, what you're using in terms of your pencils is you may have a preference for some of the software LEDS. I don't know if I would go softer than a regular be a to-be might be a little too soft. In these early stages, you may decide to use something like that when you go full value with your shadows just so that it's perhaps a little easier. But at this point I'm just sticking with the one lead. And so as I'm filling this value in, I'm going to just try and get it as relatively even as possible. I know that I'm going to have to go back in quite a bit in order to get my full value range. And that's kinda where I'll really focus on making sure that everything is super even in cleaned again. So at this point it's really just a matter of filling in this value so I can see the shapes that I'm making. And then we'll go from there in terms of increasing the intensity values. So as we're filling in the drawing here, you can hopefully see how everything starts to take shape once we just put in a little bit of value. And the whole point again is just to recognize the shapes that you've already established when we were pretty much working in just a line drawing earlier. And so at this particular point, you more or less one, everything resolves in the sense of proportion and general placement. It's not to say that you won't possibly make some changes or slightly, a slight adjustments as you continue working. Because often times things will suddenly appear that you just for whatever reason you didn't see before and that's kind of normal, I would say. But in the sense of any potential major changes that may occur, hopefully by putting in a little bit of tone if there's anything awkward or anything that feels off in the drawing, this will hopefully make it stand out so that you can make those corrections now, because realistically going forward, the value that we're going to be working with is only going to get darker, which is gonna make any sort of Corrections significantly more difficult to repair. So I would say stay in this stage of the drawing until you feel that things are as good as you can possibly make them in the sense of shape, proportion. An anything, you know structurally in the drawing outside of that obviously is just, just do the best you can and mistakes happen. And like I said, there's probably going to be some small things that need to be adjusted as I continue working on this, I can almost guarantee it, but it's always going to be very small. It's not going to be hopefully at this point anything to major. So again, just kinda keep that in mind and keep this value fairly light. But hopefully, like I said, it allows you to see the shapes that you developed as you blocked in this drawing. 8. Darkening Shadows: So I wanted to just briefly talk about how I like to build up my shadows in for the sake of not making this clip particularly long. Because realistically, filling in shadows is its own thing in the sense that it's very time consuming, but it's not technically a difficult thing to do. So I didn't want to make a really long clip of me just filling in the shadows, but I want to just talk you through my process and what I think about as I'm filling this in and what my aim is as I'm doing so so as I mentioned previously, I generally stick to an HB lead as I'm building up my values. Now you can certainly go to something softer, like a B or a to B. There are some inherent issues, at least for me, that makes using those software legs I think a little more troublesome. And the main thing with our shadows is that we want to get as sort of flat and clean of a tone as possible. And what ends up happening with graphite is, as you build it up, you start to see all the tiny little pores that come in from the paper. And all of those pores eventually need to be filled in in order to get that illusion of being completely flat. Now, it's certainly something that takes time in the sense of buildup. But using those softer lead for me, oftentimes they don't really cover enough of the paper very well, meaning because they're so soft, they end up creating larger pockets of pores. Now that doesn't mean that you can't continuously sharpen your pencil and fill them in. I just find for me doing using an HB lead and just continue to build it up slowly, ends in a sort of a cleaner results that I happen to like. And it's just easier for me to control. So that's why I stick to an HB. But you can certainly use something softer if you prefer. But just to use this as example, this was all essentially built up with an HB lead. So you can see, despite the glare on the top of the foot here, the lower half, you can kind of see just how dark I was able to get. Now again, because it's graphite, this isn't going to be like a true black as if we were working with charcoal, for example. But it's pretty darn close. And I think for the degree of contrast that we're working in, this is going to suit us just fine. Now the other thing that I'll mention is, is although I am building this up predominantly with the HB lead. Again, what ends up happening is we still have pores in the paper. And so what I end up doing is all start using harder LEDS, like an H or even a to H In some instances to get into those tiny little pores and then ultimately fill those in so that we get this nice feeling of a very flat and sort of seamless shadow. Now again, this is something that takes a bit of time depending on how large your drawing is. So if we're working in graphite, this is kinda where it helps us to work a little bit smaller. And so that's just something to keep in mind as you're setting up from the beginning with your drawing. If you are doing it in charcoal, you have a little bit more flexibility to work a larger, but if you're doing it in graphite, this is where staying on the smaller side is a little more practical. But again, just to reiterate, my build-up process was predominantly an HB lead and you have to continuously sharpen your pencil, or even sometimes using a mechanical pencil, if you're careful, can be very advantageous. But once I build up things enough with an HB lead, then I go and layer with either an H or a to H to fill in those pores. Again, it is going to take quite some time, relatively depending on how much shadow you're working with and how full value it is. So in this particular instance, the majority of the foot is that really dark value and then the base below is not quite as dark but still dark nonetheless. And the whole the whole thing, regardless of how darker the shadow is, is just a try and get it even as possible. We don't want to have any noise in that shadow. We want it to feel solid and kind of graphic looking. So think about your drawing as we're, as we're kind of getting close to modelling form. We want to have this sort of nice 2D effect in the drawing. So it's a very stark, almost like a poster effect is what we're going for. Beyond that, the only other thing I'll mention is that my outer edges and the drawing and even into the shadow is I don't I'm not looking for a razor sharp line or any specific contour just yet. That's something that will come at the very end of the drawing as I'm finalizing the exterior lines as well as some of the interior lines. So I'm still giving myself a little bit of wiggle room by doing that. So none of the edges are overtly sharp and or like razor-sharp, there's still, you know, they might be a firm edge, but they're not fully committed to just yet, especially on the outside where I want to still have just a little bit of flexibility with myself moving forward. But again, nonetheless, I didn't want to make a super long video of me just filling in shadow because it's not really necessary. Again, my buildup was just an HB lead predominantly and then finishing off with an H or a to H lead to fill in the gaps. And again, just give yourself a little bit of time to really build the shadow. Don't try and force the lead to push harder to get it darker quicker, just gradually build it up and that value will happen. Just kinda trust in the buildup of it and you will get to that really dark, almost black with your graphite. 9. Beginning modeling: So at this particular stage in the drawing, your shadows should be completely filled in to their respective value. And this will depend on which particular plate you're working from as not all of the plates are as full value as this, but nonetheless, we just wanna make sure that our shadows are nice and flat and accurate and value. Realistically, the modeling portion of this drawing should be fairly straightforward as if we spend all the time early on measuring and making sure our angles and proportions are correct. And our value is looking good in the drawing, then all we're really doing is bridging the gap from shadow to light. And so in this particular plate, there's not a whole lot. I mean, that realistically it's not like there's a full range of middle tones. It's really just kind of from the shadow towards the toes and then kind of the large toe. And then just a little bit from the terminator on the shadow itself where there's little bit of halftone coming out. But realistically, like I said, regardless of which plate you're doing, if you took the time in the beginning to make sure that all your measuring and proportions were right. And then your shadows were nice. And even then, finishing off the drawing at this point should be a little bit easier for you. But nonetheless, we still need to do these finishing touches so that we have a completed plate. And I'll discuss that as we get close to the end of the drawing. So I'm just going to gradually build out from the darkest portion of the shadow and work my way towards the light. Now in this particular plate, there's not a whole lot of middle tone. It's kind of just sprinkled a little bit on the toes. And then where the toes meet the base of the foot itself. So it's not like I'm going to have to do a whole lot and that's okay. And you'll find that on a lot of these plates, there's not a lot of middle tone realistically, it's really those middle tones are just serving to sort of bridge the gap between lightened shadow. And I feel the important thing about that, or at least to recognize, is that if we spend all the time early on making sure that our proportions and everything like that was accurate. And then we took the time to get nice and even shadows is that it almost takes very little in terms of any sort of mid tones to just kind of bridge the two together. And you'll find that it really does make the drawing come alive with very little effort once all of the other ingredients are put in place from the get-go. So as I'm building up these mid-tones, I want to still keep them as clean as possible. Very much in the same way how we kept our shadow nice. And even the only difference being is that these midtones are going to be a significantly lighter value overall. I'm going to build them up predominantly with my HB lead. And then if I need to in certain areas, I may pull out an h led to kind of fill in any little pores. The only thing I want to avoid as I'm building up the mid-tone is I still don't want to have any noise. I want it to be a nice, seamless transition from the shadow into the mid-tone, into the light. So that's just something to keep in mind as you're working is that you'll see me kind of go over the same areas over and over again. And it's not because I'm trying to necessarily make the mid-tone darker per se, but I'm just trying to make sure that everything is nice and even. And so sometimes you'll have to go back over the same area repeatedly just to make sure that the pores of the paper are filled in. And then the transitions are very smooth. So one thing to keep in mind is that we're, as we're working in these lighter value areas, is with the gradual buildup of tone that we're making. We're much more susceptible to inconsistency. Meaning sometimes as we're putting down pencil strokes or anything like that, we could end up with like little specs or imperfections in the given value that we're trying to create. So when this does happen, what you'll want to go ahead and do is just gently take your eraser and remove any little inconsistencies or imperfections that you see that are taking away from the smooth transitions. Now, again, sometimes this is why I will often use a harder lead. Sometimes I might switch to an H or a to H depending on how light of a value that I need to work with. But if, if it happens as you're working, don't panic or worry that something that you can't fix or resolved later on. It's just something to keep in mind is that because we're working in a much lighter range of values, is the potential for inconsistencies to stand out from a large tonal area are a little bit greater than what we were dealing with in the shadows. And so as I'm gradually bridging these two areas together, my end goal for this is to have everything look as seamless as I can make it. I, all of their transitions need to connect to one another so that it doesn't feel like anything was done separately in the finished drawing. As I'm working from one section to the next, if there's any sort of halftone that are connected or anything like that, I'm still looking at the specific shape of those half-tones so that I'm not going too far out. But I'm making sure that the consistency of value in tone as it transitions from one area to the next. Is this close inaccurate as I can make it according to the plate. Again at the end of the drawing, all of this should be very sort of h. It should have a very smooth look to it. So we're trying to avoid any sort of texture or anything like that. As I'm building this up. 10. Continuing Modeling: So continuing along here, as I'm building up the middle tones that are extending out from the Terminator of the shadow across the middle part of the foot because it's not as severe amount of midtone that I have to deal with. The areas that I'm really going to focus on is the very edge of the terminator. As it gradually rolls into that middle value, I really want to make sure that that is a very nice transition and kind of has a very natural gradation effect. I don't want it to feel like there's two values that are sitting right on top of each other and sort of right next to each other. I want to make sure that it feels like that that shadow is just gradually rolling into the light. And so that needs to be a very sort of seamless transition. And so because I don't have a lot of middle tone to work with, I want to just really pay extra careful attention to making sure that it's a nice even transition. And so I'm just going to be skirting along the edge of where that shadow, that shadow line is in. Just gradually rolling it out so that it's as sort of neat and even as I can make it. So what it may mean for me is that in order to keep everything as clean as possible as I'm going to continuously sharpen my pencil and make sure that I can get into those little tiny areas. And then also too, this is where you might consider switching over your pencil lead for just the middle tones where again, predominantly we were using an HB lead for the majority of the drawing, but we may decide to switch over to something like an H lead that is going to be a little bit harder so that I can still keep the values fairly light. But it also allows me to get into those tiny little pores of the paper so that it's going to make these transitions from the shadow a little bit easier to achieve. Again, it doesn't really matter what you decide. I think the important part is regardless, is always keep your pencil really sharp for these types of shading exercises and things like that because it just allows you to keep the drawing clean. But otherwise again, maybe consider using a harder lead so that it's a little bit easier for you to achieve that nice rolling effect that we're looking for. So as we kinda work our way towards the top part of the foot here through the ankle. The gradation from the terminator is perhaps a little bit larger compared to the rest of the foot. But nonetheless, I'm essentially just thinking, this is like I'm shading a cylinder for the most part. And so it's really more a matter of just paying attention just to see how far those half-tones come out of that shadow shape and making sure that they stay even. So as I'm going back in to the foot here, I'm using a harder lead as well as this is a 0.3 mechanical pencil. I like having a really fine tip for certain things. So that's sometimes where I'll switch to a mechanical. And with the hard lead, it's going to really allow me to get into the tiny little areas where if I'm seeing little little tiny pores of white from the paper that are sticking out or if something looks uneven to my eyes in a transition. Having this really fine point as well as the harder lead just allows me to address those corrections. I think a little bit easier, at least for me. So I always like to keep it a mechanical pencil on hand for detail work and stuff like that. Words sometimes with wooden pencils. It's not that it can't be done. It's just sometimes I feel like you have to work a little bit harder to get those similar results. Whereas a mechanical pencil just allows me to get straight to the point pun intended about filling in some of this information. So again, something to keep in mind. But while I'm doing here is I'm skirting over the surface with this really fine point and a harder lead, just so I can make sure that everything looks as neat and tidy as I can make it. And if there's any little specs or dots, I can pick them out with my eraser and then go back over that area again. 11. Finishing the drawing: So as we're getting close to finishing up the drawing here, there's really just a few last minute things that I need to put in so that everything looks fully resolved now and there's a little bit of tone through the large toe here. And then I'm also going to have to get a little bit of a value on the top portion of the base that the foot is resting on. Because from what I can tell in the plate, there is a little bit of a light value that's kind of framing the large toe as well as behind the back portion of the foot. Otherwise, for the most part though I'm feeling good about the middle tones that we've put in. And I'll probably have to do some last minute clean up things to get the drawing completely finished. But hopefully you can see from the half-tones that we've added thus far, is that it really kinda brought the shadow and light together. And really now it's just kind of a lot of last minute refining and making sure that things are as clean as I can possibly make them. So like I just mentioned, there is a little bit of a light value on the top portion of the base here. And so I want to just gently put that light value and as I can kind of tell, there's a little bit of value just in-between the top portion of the tip of the large toe. And then the value kind of frames the edge along the side here so that there's no longer a discernible line. Now I'm still using an HB for this and then I'll probably go back over with an H to make sure that the value is nice and clean. But it is something that I see in the plate that I want to make sure that I get in because it also helps separate the foot a little bit better from the base itself. And then we'll have to go back and do is I need to reaffirm a lot of the lines in the base. I still more or less have my original block in lines that I've established, but I need to go back in and start to really make definitive lines in a lot of areas through the drawing. So this will include the base as well as the contour of the foot itself. So with the base filled in, you can see kind of how it made just that front portion of the foot just really pop. And so the last little halftone I need to get in here is just a little bit on the back part of the heel. And then I think at this point we're in a good place. But what I still need to do is I need to kind of just go over the entire drawing again and either clean things up, double-check my lines, and get kind of prepare myself to put these sort of final contours on. Because really at this point, I haven't really committed to a sort of final line anywhere. Now there aren't really areas that I feel like I need to sort of create this really razor sharp line, but I think that overall I can still clean up the lines a little bit so that I'm left with a really sort of nice singular line that. It has no ambiguity to it. And so what I'm gonna do here is I'm just going to take my eraser and just kind of tap on the line that I have here. So I'm not necessarily going back and forth trying to erase it, but I'm just tapping it so it removes a little bit of value. And then I can go back in with a pencil and get a nice, really tight line. And so now I will be going in and getting that final contour that is really just going to help finish the drawing. Now, again, it is something that is, this is one of the last steps in the drawing for me. And the reason being is that it's sort of a really committal thing that I don't want to have to go back in and erase something. So it is why I kinda save it for last and it's a little bit safer on the shadow side because things are already so dark so I can make adjustments to some extent if I need to trim something. If it's on the light side of the of the cast or the plate, it certainly becomes more of an issue. So just be careful as you go in and put these contour lines and double-check before you really go in there with your pencil or any sort of razor-sharp lead and just make that last commitment. Now I will still have to go and do the same thing for the base in the drawing. But realistically at this point, a lot of sort of the finishing touches are really just going back in and just cleaning things up. And I'm going to just try and be objective and ask myself if there's any areas that I missed or areas that might meet nor more attention or, or any of the transitions not looking as good as I could possibly make them. Realistically. Depending on the play and depending on what you're trying to get out of the drawing, that could take a short amount of time, it could take a long amount of time. But if we went in the steps that we've discussed earlier and we kind of did our due diligence in the beginning, from the block into the shadow stage to the half-tones, then hopefully we're not making too many corrections at this point, and we're really just putting on finishing details. So I will again do a once over on the drawing one last time just to double-check everything. But really for the most part, this is kind of the finishing touches for this particular drawing. So I will kind of have some final thoughts and some ideas to give you. But if you've followed the drawings this far and this is let's say for example, this is the plate that you decide to do your project on. Then hopefully we're in a similar place as well with your own drawing. And again, in these final stages, it's really just kind of nitpicking and looking for small things. So hopefully resolved the larger picture that we started with. And now we're just kind of looking at small areas in small adjustments if we need to make them. 12. Closing thoughts: So I just wanted to end this with some sort of final thoughts about the drawing. And so I tried to get both the plate that I made a Xerox copy of as well as the drawing into the into the frame for the video. And so that way you can see a side-by-side comparison. And it's a little tricky because this is a Xerox and you have this sort of gray versus a white paper. But hopefully you can see between the actual drawing of the cast here on the plate from the Xerox to my own drawing. And it feels all right to me, you know, I'm sure if we took a microscope and a tape measure and started going down to the whatever millimeter. I'm sure there's probably things that are maybe not exact to this. I would sort of expect that to be honest. But when we look, if I make a quick comparison between the two and I kind of check going back and forth. I feel pretty good about the drawing. Again, it's not to say that there isn't any sort of potential micro sort of issue with maybe parts of the drawing. I've done my best to try and remeasure, check everything, make adjustments. And like I said, realistically, for the most part, I feel like the drawing is somewhat successful. Now that said, I think there's always going to be something like I said, very small. There's always going to be a chance that certain things are off. And I know that over the course of the drawing I had to make some corrections which is totally normal. And what I would emphasize, and this is something I think every student has to go through, is that you wanna make those corrections as early on as possible. And when we start putting in really dark values like the main shadow through here, at that point, you don't really want to be making too many adjustments to the drawing itself. It would be stuff that is very minute and preferably on the light side if you needed to make serious adjustments. But as you saw in the video is that when I put in the initial shadow shape, that's kinda where before you commit to a really strong value in any of your drawings, that that's where you want to make those last minute changes and assuming that you, you know, you caught everything in your block in stage. Like I said, there is a slight chances that you just could potentially miss something, you know, at any stage of the drawing and that's totally fine. Now what I would say when you make your Xerox for your plate is try and get it to a size that you feel comfortable with. So for example, in this, for this particular plate, I don't know if I would really go much larger or smaller for this particular cast only because this would take so much extra time to fill in. And there's enough information at this scale where I don't really feel like certain areas got too small where I couldn't comfortably draw something in. So that's something to keep in mind depending on which point you choose is that you may want to either scale up so that it's more comfortable for you to draw. But if it has a really high, a high degree of shadow that's really dark, just know that it's going to take some extra time to be able to fill that in. Now, I again, the, the, the opposite is also true as well. So you don't wanna go so small when you make your copy, that detail areas become really hard to manage. So it's just kinda finding a balance between the two before you begin your drawing. Now, what I end up doing is I had made about four different size Xerox's of this particular plate. And then I kind of decided which one would be a good size to demonstrate. And so again, that's something that you may want to do when you go to print out the plates to start your drawing, is maybe print them out at different scales so that you have at least some flexibility in how big you want to do your drawing. All in all though, I would say that this was a successful demonstration. I'm in the sense that like I said, it feels it feels pretty good to me. And there's probably if I were to take a ruler or a tape measure, I'm sure there's probably maybe small areas where there's millimeters that are off. And that's not something I did against the plate. So if you if you're going to do these, It's not like you want to take out a ruler and measure all of these things out. Exactly because that's not really going to train your eye. Again, remember that regardless of the outcome of the drawing. The whole point behind this is to train your eye and to measure and move things from side to side on your own drawing. Because this is what you would be doing. For example, if you're working from life, let's say it's a cast, a portrait, or a figure. You would be using these same concepts to measure out your own drawing on your paper. So you don't want to be taking a ruler and make sure that you're just translating things per millimeter onto your paper so that they match perfectly because it doesn't teach you to see really, and I think objectively speaking, that's really the goal of this. In odds are your first few plates that you try. There's always going to be there's going to be mistakes, and that's fine. And that's just part of drawing. And I think everyone, you just have to go through that and make those mistakes, but then be able to spot those mistakes and then make corrections. And at some point, it's very possible that you do a drawing. You get to a certain point and you can't really make a correction. I would still keep going as far as you can with that particular drawing. And if worse comes to worse and it's a mess up a drawing. That's just that's just business. You know, it's part of the process as you learn as a student and you just remember those things for the next time. And so I hope that by watching me go through this process, you'll feel comfortable enough to start your own drawings. For these n. What I would emphasize is just really be patient with yourself, give yourself plenty of time. And if you feel at a point where, you know, either things aren't working or you're putting down wrong marks, or you're mismeasuring or anything like that step away from the drawing. The benefit of having these kinds of drawings on your board is just you can step away and it's not like it's a model where you have a limited amount of time. So you can really just put these away and come back to it. And I do that in my own personal work as well. That if, you know, if something feels off and I'm doing like a portrait or what have you, and it's just something feels wrong and it's not really going my way, then I just, you know, I put it away, just get away for it for a few hours, maybe a day, and come back to it and just look at it with fresh eyes. So just kinda keep that in mind as you're doing these is that spend as much time as you need and don't try to limit yourself to a saying like, Oh, I gotta get this done in a week or whatever. However long it takes, just It's more about the experience of measuring, putting the information down, double-checking yourself. And then, and then when you get to the fun stuff like shading and tone and just really being patient and taking your time and making sure that these are as accurate as you can make them. And like I said, at the very end, if there's maybe small things are off, that's it just happens and you just kind of try and take that knowledge and put it into the next drawing. Maybe start to see where you're having certain issues when you measure or anything like that. And really that's about as much as you can do. And then it just becomes a matter of experience and doing more drawing. So again, I hope this was helpful for you to see and watch me do these, to do this drawing from the, from the plate. And I hope that you have a good time at least giving this a shot and feel free to post up your drawings. I'd love to see them and critique them. And once again, thank you for watching.