Jump Into 3-D: Draw And Watercolor

1. What Is 3-D All About: I'm Ron Movie in Welcome to jump Into three D Way really need to know when we draw three D is to be able to see through into the picture. One is dark and the back one is life. We're creating depth. Three ds height, wit, death. Everything radiates into the picture into the picture to see in three D, you've got to be able to see it before you can draw. Find out what three D really is all about Hurt by drawing shapes and from shapes, we add depth, which creates for one of the great things about three D Drive. Did you get to feel like you're really drawing? Drawing three D? And you really understand things start turning out. I feel a sense of fulfillment direction. That's what this class is all about. Jumping into three D, getting the confidence to Judy and then proceeding to get rid of all those fears. Start drawing the way you really want. Three D is all about four. It's about being able to see something that really grab it. Take an illusion in your pictures that people want to reach it to take that apple or they want to pick that flower will not grasp the true essence of three dimensional drawing, which is seeing being able to see what you're drawing and produce it in a three dimensional four. I have some tricks to show you make that really easy, so let's get her pencils. Let's get a few paints and some paper and let's jump into three D. 2. Dimensional Drawing Warm Ups: Let's get our warm ups round and round six lines. Six. Universal lines round and round makes him round and rounds warming up round and round millions of round and round. I want you to get so good around around that you can't not but do around circle round and round with the round around We're gonna go back and forth, back and forth, back and forth, back and forth, back and forth Big back enforced Notice how the whole arm moves from the shoulder, Not the fingers finger back and forth. Finger back, forced See Finger drawing still uses like little risk movement. Up and down. Up and down. Up and down, Up and down, Up and down, up and down Keep the lines parallel with the end of the paper. Parallel is very important. Keep your back and forth parallel with the edge of the paper through a few on an angle on an angle on an angle on an angle on an angle. I'm using a dolly that's the opposite of a sharp so you could see it next. One is exact. Big toe. Little think so. Little zigzag zigzag. Six eggs exact down, zigzag up zigzag on an angle. Okay, Next one is the wiggle that's rounded the opposite of zinc Sackets liken s wiggle And the last one is dot, dot dot That's a quick review of the first part of our last class. And that's where we also added the Aleppo. Oops, the lefts. It's time to do the spinning point or there's little drying. Somebody hears the spinning coin. You start here with an ellipse. Keep your arm moving. Don't throw those old sharpies and keep them there called dollies. Notice all the ellipses air going Teoh here they're all going in the same point. This is called spinning Coin was finished. It looks like a coin spinning on the table and you want to get right down to 180 degrees. We can add one more here and one more. See, the coin is spinning and the trick in this one is to get mastery off your ellipses. So everyone has the best. The best way to go minds this direction and there's the spitting coin. Ellipses are very important to draw. Okay, so the lips lift that poulet lifted poulet lifted bullet lifted pole. See that elliptical shape in all directions is the best thing for you to practice to get into the three d Look. Okay, so we're working on three D shapes, but we're still doing thus six lines run around, up and down, back and forth. Zigzags, execs exact with the wiggle dot, dot dot Some variations of these. So the curlicue coming out from the inside or going from the outside in currently que is a very good one to practice, especially double curlicue. These air, all hand eye coordination Come on out with this one divine pattern. So these air great practices reason why we're like curlicue is because if you do the easies , it's like a curly cute. And that's what one of the things we're going to be doing today is learning lots of little exercises that show us how to see in three D. You got to be able to see it before you can draw. Waterfall starts with an eight way, always want to do these warmups because the warmups show us how to draw and what we're doing when we're drawing 3. First Steps In 3-D: Let's work on the dimensions we've heard of three D family Heard of two D Dimension means being able to see things or touch them. If you close your eyes and just hold your pencil and feel it, you could feel dimensional. Dimension exists primarily through our two cents is seeing and touching. You know the circle or round and round is one and two dimensions. It's got height, and it has, with Those are the two things it has now. If you put another circle behind the circle, you just have the same things. You have height and wet, and if you put a smaller one here, heights and wit all two dimensional. But we can create a sensation or an illusion off depth with using two dimensional objects. Something's air scene and some things are not seen, so I have a bunch of circles here. I'm going to choose a few of these circles and then use my eraser to help me draw and now and clean up a few lines. Now I have this one, and I'm thinking I'll make this one fairly visible. Oh, you know, I do that all the time. Just show you bearing down in your pencil is important. Now, this one, I think I'll put this one in front also. So the key words here are in front and be hide. Things are either in front or behind. Things are in front or they're behind. So you can create the illusion of distance by learning this principle of in front and behind. And you can still draw in two dimensions. But you can create a feeling off three dimensions. No, I'm looking at test and I can see something coming at me, almost creating a three dimensional effect. Especially. I cleaned it up a bit with my eraser and without even trying just using the round and round or circle I have created the illusion off death. 4. Let's Get Doing 3-D: way folded paper exercise and it's quite simple. All you have to do is draw zigzag on your paper like this, just going across simple zigzags. I'm going to draw one there and I'm going to draw a really simple one here. It looks like a said. So you get the hang of this Now you're gonna put a little dot down here and you're gonna take everything in the front down to here. Not these ones, but just the ones in front. Then you're going to take the ones behind. You're not going to see that one. But you definitely would see this one. Aim for the little dot Came for the dot Aim for the dot. And there you go. For this one, it's a little easier because there's only a few you can see they all come in here and you only have one to do their these air. Great little exercises. What if I put one in behind here? I'm still going to be aiming for the little dot C. These air called lines of convergence. And for the games that we're doing here, you just keep make sure you're lying is pointing to the little dot here. And of course, there's nothing here because you can't see it. I'm going to bring another one and to bring it through here. Over here. Um, yeah. I think I'll put a little bit in there and stop there now. Okay, we're going way down here. So that one goes to there. That one. That one. That one. That one. Pretty soon you could build this and get it very complicated. And you can shade it. Just see where your shading you shaded all the right hand side or left hand side. This is the six B pencil, putting a little shading it on. You can also put a little shading in here too. If you want to use your finger to shade up things. Pretty cool stuff. You can use colored pants and make them different colors. It's almost like your own little doodle board. But you're using perspective and do look at it the other way. Zag. Now, you could make a few of these. You could make the tales really long. They won't work very well. If you make some exactly even you have to pretty much make one side longer. Then the other see They're all different distances now. Very good. Now this is a great exercise for learning how to see where parallel is. You can see my first line is parallel with this line or the edge of paper, but you can see that this line is what we call an oblique. It's not parallel with the edge of the paper what I want you to do, because we're very much interested in seeing things in three D as I want you to construct some short little lines to begin with that are parallel with the sides of the paper. So all the lines I'm going to do are going to be short, and they're all going to run off the edge or the point of each line, and they're all going to be parallel with the edge of the paper. And the reason we're doing this exercise is because the oblique lines for the lines on an angle are the ones that are coming up next. When we draw in three D. Now here's a little rule. If it goes down and comes to one of the oblique lines or lines on an angle, you have to stop so I could make this a little bigger. Try and make them the same size and continue. Oh, I think I got to stop there because there's a line and there we go. And this one, well, we'll do this one anyways. It's going to be well, it kind of turns into an envelope. Now we want to talk about parallel again. Each of these lines has to be parallel, and in actuality they would converge. But we're going to just make the parallel, and it's where is it aiming for? It would be aiming for here, but we just stop it there because we can't see it. If if you find it easier, put the paper on an angle. Just remember, basically you're aiming for this spot behind this wall, so if it happens to slant a bit, it's great. But right now we're concentrating on making these two lines the top and the bottom, mirror each other or be more or less parallel. Now this Linus slightly curved. You see, it's not really straight, so I keep my eye on this line and I bring this over and there's a slight curve to it. They don't have to be exactly perfect So you know, I tend to do it fast and have a little fun with zigzag flick, flick, flick, flick and we can boost it up to the next level. If you've got that one, just remember, zigzag straight down, straight down, straight down, straight down. Here's a great one. Now, now what we do always make a series of these like that and you play around and practice these little doodle lines. Get good at him. Remember, they don't have to be perfect, Just approximate. And you've got a nice long ribbon. But what if you get that and you want to go to next line, which is? I call it 77. These air These are really like sevens. It's just two weeks. Give them a tail calling his ex actors that z So 77 goes like this You make a seven, make sure it's long you put another seven that hooks in here but doesn't touch you make another seven at another seven at another seven. They're all sevens Now we follow the rule. The rule for this design is going to be everything that comes from the little point has to go parallel with this side of the paper. That's the first rule. And here we go. So down, down, down, down each little edge comes down unless it touches another line that it has to stop. It's like a gape down, down. And now we do the edges down, down notice. I'm just giving a uniform flick of about this long unless it hits a line And then I'm a little slower and make sure touched on there. Any lines I didn't touch. Looks good. Okay, Now, these ones, whatever. This is where the direction this is going to put a little one in here. Whatever direction this is going in there, put it in there. Even if it goes a little, crack it, straighten it out. You know, don't get frustrated with these. Just keep doing them into you. Master The idea 5. The Magic Of Ellipses: So first thing you wanna dio, it's just draw a sphere, but just draw the round part. Don't draw the inside. Not yet. What we need to do is find the top of the sphere. Now the top of the sphere. Think of it like an apple. It could be anywhere where it grows. But let's sell us say that that was the top off the sphere. Now I want you to bring down some curved lines from this dot like this, using some finger drawing. Now, if you need to turn your paper, you can I find if I pull my hand, I can make a very sure line also. But to the left, I like to do a finger drawing so you'll notice. What we're doing is we've made an ark will make another arc here so that they're following the contour or the shape the form off. That one is just slightly curved. And now you can start to see a pattern emerging. And if you continue that pattern, you'll end up with a fairly convincing maybe not exactly true as far as the laws of perspective drawing. But you will feel maybe like one of those cakes. You get it festive times a year with a coffee. Cakes are going in. So the shape it was a circle. And because we've had it, he lips is everywhere. We have created a form, and the form is like a sphere. So if you take your finger or your blending stump a little blending stop. I thought. I keep my hands clean on this last time and just shade everywhere around the outside. That's and leave the inside white. So you see that around around shaking and come up a little Here. We're basically in artistic terms, getting the whites dirty or clean, keeping the whites clean. And, of course, the more I've put dark hair for. The harder I rob, the more form comes out. So in order for us to get form, way need to get a shape, we add, need to add a dimension to it, and the dimension that we are adding is called depth. Won't you take a shape any shape you want to think of, and you add some dimension to it depth you create for, And that's even accented war. When you add technique off shading, which is basically dark, collect There we go. That's a great trick to practice. Let's do another one. How to go in and out of the picture and forward. I could bring this right up like this. 6. Creating Depth With 3-D: for three D Drawing is all about curves and shapes and depth taking shapes, making them into other shapes and also because of our exercises or developmental drawing exercises. 100 round up and down, back and forth. Six. XXXIX Anquetil with a wooden wiggling dot, dot dot were able to get some good lines. So here's the next exercise. It's going to be focusing on this, and it's a little bit of a twist from something You were talk. Probably agreed. Three. Early on, we learned this little trick. Maybe your dad or mom showed you your big brother, someone at school. You draw a little square or rectangle, and then you put a little thing here behind it, and then you join these up and you go around showing everybody that you can draw in three D and in a manner of speaking is true. You can draw in three D, but you are missing two things. You don't see three D, and you're not able to think three d. All it is is a little trip. I could trade an elephant or a monkey to do that trick, so there's no merit in little tricks like this until you understand what the trick is doing ? Let me show you how to really showing him a trick. We take the first thing we learned, which is this little box. You put another box behind that, and then we put more boxes in and we keep making them smaller and smaller. Why do we do it smaller and smaller? Because in dimensions, things air close and things are far away. So and what I want to do is just keep it going until it's you know, you can't see it anymore. It turns into a little sort of a dog that there we go 5000 pieces of paper. Now, this is the first level. So all you have to do is join up every single one. And don't be worried if they're a little crooked in places. But continue the exercise right to the end. Until you've joined up every single one and you'll notice that we get less accurate as we go back. There we go. We have created it. Could be us a sneak coming forward. We've created some damn into the picture plane. You see, we really are magicians. This is just a flat piece of paper, but I'm creating depth into the picture plane. The picture plane is just right here. What? You see? Very good. That's an easy one. Here's a level two. This time I'm going to use my little flicking method like that rather than try to draw precise squares or rectangles. And when I've done three, maybe four, I'm going to head over to the bottom of one and continue the pattern this way. So I've changed their direction off my squares, and now they're going like this. And of course, since I joined these up, I will begin to get Oh, I change directions here. So I have to be careful which ones Which ones show there we go back in the race. What this will show you is how to make things for shortened. That means things coming with things come towards you like this, therefore shortened. If we look at the pencil like this, that's simple to understand and drop. But when I put the pencil like this, that's foreshortened and it becomes a little more difficult. So the reason by this is good is it teaches us how to go in and out of the picture and forward. I could bring this right up like this. If I had a big one here and have done a few more, you notice that they will start to come forward more. Wow. This could be for Chinese New Year. Like a dragon. I could bring that twisted in here twisted back. So this little exercise with the little boxes? I'm not going to show you all the variations, but it's fun. And it could be like a puzzle. Like, if I do it like that, which ones go with which? Well, that goes there. That was there, that was there. And sometimes you can get confused and have to start over. But I think I'll join this one to this one. And that would be going here. So you have to think it out. See? No, I've got something old. Hey, look, it is this cool. It looks at this. Could be a marimba. I could have changed that won t hear their ago. And these could be little hands on the end. And here's a little legs down here and he could be carrying something. Do you see what I mean? Like thes air, great little imagination. Boosters. You need to be able to think, see and draw in three D. Let's try another one 7. Breakfast Food Of Champions: first game is the breakfast food of Champions, and you have to sort of guess what it is as we're going along. It's going to use round and round now through your round and round. Make on the lips. Remember how we practiced those ellipses? Front one is dark and the back one is life. We're creating depth E p T H depth going in. Put a dot in the middle, Get my little friend over here. Races are afraid. They help us draw. And let me just put lines through this so that we can get our breakfast food of champions going any line when we're doing this. One point that's in the middle is always hair real well with the signs of the paper. Just show you very important because eventually with two points perspective, you're going to really need to know how to keep your lines parallel, not straight. This is a straight line, but this is a straight line. That's a straight line. This is straight parallel are two straight lines and never converge. There we go. Ok, now going to use my eraser. This could be something else. Also, it could be thousands of things but right now it's the breakfast of champions. So there's my eraser used my eraser to help me drive handy to have a brush. Secondly, in order to create form, let's say we were going to do the grapefruit flying through the air. Or maybe it was a leaf flying through the air or a stone. Paris. So I've added a little bit of shading. I don't mind using my finger. You can use a blending stump, but leave a little white shine in the middle. Take a little bit here and also with dimension. You need a very important word on that is shadow. Shadows are not dark holes. I just happen to have something I think you might be interested in. Get a razor blade like in a utility blade and put a little bit there. These are all the tools of drawing. Take your finger and look what we get way get a fairly copious amount of blending material . Now a shadow is always sharp right at its base, and then the shadows softens as it gets farther away. And, of course, depending on the light, you'll see that shadow is definitely darkest here. But then it softens out, even though this is kind of soft. I couldn't even take something that's a little harder edged very dark here. And then it gradually lightens out, going to darken very dark right here and very sharp, sharp at the edges, soft as they go out, of course, using your finger So my a little reflection is going to be round. It's going to describe the shape of the object. It's reflecting on their now I have looking beautiful. Now what I need is to put in a reference point, which we call. It's not a horizon line, but it is a reference point. Attainable. Things may be a couple seeds. I mean, you can go on this. You can add some highlights in here, right with your eraser. I had a couple highlights in there. That's juice marks coming off you shade all the juice marks. There's the breakfast food champions. That didn't take us too long, and you could get rid of that. You can also put one over here, make another lips right and putting take another sphere, put the 12 6 oclock and then let's see. I think we'll go with it. Uh, this way ID like it haven't facing this. So I'm gonna do it this way. No, I'm gonna do it this way. Oh, you don't see what I'm saying. See, I can see several ways to do this because I can see through my object and you can see through it. You are learning what perspective really is. There's my precious fruit champions on this angle. And of course, my shadow would be coming across here, my racer. And now we have two shapes. Two oranges coming together. Put some water color on it, let it dry digital color pencil. And now I'm adding some highlights with soft pastels. These air chalk pastels. So you know you can You can sort of lay them on thickly like that, see, and get some reflections into your picture. Maybe a nice purple here, and it just picks up the colors. These air, pure colors. And, um, I love using pastels because they just add a little glow to your picture. So there we go. A little fun with this puts a pure red and love pure. Nice thing about these is what you put them in. You could take your blending stump. It's often edges. And there's a good study for George 8. Playing In 3-D Puddles: One of the things we encounter in early drawing is the tree with Apple's, the Dock with head and feed, detail and drinks and the puddle and the panel and a little grass and the puddle is always a little quite not quite really so. Let us take a quick course on punts, and we'll put our paper this way, and we're going to talk about the word flatten. So here we go poodle line above the middle. So where's the middle? Easy to find the middle of anything. Simply by putting one corner to another, you'll find the middle. And most landscapes are better if the horizon line is above the middle or below the middle . But anyways, and put our itty bitty dot there and just go like this. But maybe we should just take that up, refused it. And just take that and make sure your lines radiates from the little dot outwards here. Now, if this was the first section which is parallel to the edge of the paper, these air all oblique clients the three are using parallel perspective. I want the next one. I can actually give you the formula. Why not this and this. We're going to find the middle of this part which is here. So I was a little out here. Let's take that as the next one anyways. So we take the middle right there. Now I find the middle off, this one and this one. You could get this in Jon Ruskin's book, The Elements of Dr Why You Would Want to, but it's kind of interesting. So there's there's the middle of the next one Now find the middle of the next one. You'll notice that they keep getting progressively smaller. Let's make this one here. So from here to here, there progressively getting smaller. Now each of these lines Let's pretend that we need to draw puddle. So our first party is going to be in these two quadrants from here to the bottle. So I just make like a like a wiggly, cuddly shape. Any wiggly, partly shape, as long as you keep it within these two. Now, my next one's going to be within this quadrant here, so just Waverly Wigley shapes maybe a little puddle there. My next one bottle is going to be It's a big bottle day here. He's going to be there. Maybe a long, skinny one. I'm a little sharp in here on my six B. I do like soft pencils. I have to admit I'm not a hard pencil sort of person. Now, here's my next Fine. So I'm gonna put a little puddle in here, And then as the puddles get farther away, they flatten out. No, I want that's That's a good starting diagram, But well, you do a lot of racing here, a lot of racing to make it look. So what I'm gonna do is I'm just going to eyeball it. All I have to remember is as my puddles get farther away, they get flatter. You really see this at the beach title title pools. I can't even make one come in like this. I see. So see how they get flatters that get farther weight. And then I put my mountains in here and guess what? The same principle applies. Two clouds. They get flattered if you've ever been to the prairies. This is what you see. It's an amazing sight, OK, so quickly. The night the nature of a puddle is to reflect, but there is a bottle trick might be showing The final trick here is the rule. There's always a few rules in perspective drawing whatever edge you can see in front of you . Just take your six B or softer pencil and dark and Onley the edges that are. You wouldn't darken this because the edges on the other side you would darken hair dark in here and not quite there. But you'd start right about there. There we go. And your darkening that edges. Whoa! You wouldn't see this one, but you'd see it here on their your dark ing. The edges are in front of you. Edges, you can see. Oh, not that one. It's OK. Well, not that one. They're less as you get farther away and then throw a few, uh, way to do it. I think with our little blending stump, just pop in a few vertical strokes. Vertical strokes give feeling of reflection. Well, over there, that's OK. So here's my mountains. So actually it would be reflecting in a bit more Here. There's sky, had a little texture on the ground, and you've got yourself a little picture 9. Draw And Paint Tidal Pools: and we have one of our pictures here is on shading and flattening, getting puddles. So here's a little West Coast quick sketch I did in a class and it has a puddle in it. We're going to do a quick little picture that draws it and paint set and uses the three dimensional idea off flattening as we go near the horizon line. So we're gonna put this practical knowledge into a creative use. But let me just put in a rock. Now the rock is going to be rounded on the bottom, remember, were thinking three d So this is rounded on the bottom like even a rock. Whatever shape it ISS has dimension. It has depth. So I'm rounding it here, and then I'm just going to put in a little shaped like that. I have one here, and then he's gonna have another little one here and a medium one here that gives me Ah, Papa Bear and Mama Bear and Baby Bear. You could call him big, Medium, small Anything you want. I'm fund three bear, so I'll go with Papa, Mama, baby Papa, Mama, baby or all by himself. Let's put a line on an oblique because of our studies in three D. You could remember that if the horizon lines here creating interest by shooting this way, what an angle is called an oblique and we don't want to have the line all the same. So I'm gonna break it up here way. Go couple dots here. Now I can put in my straight line now. I don't want it to come right through here because that wouldn't be as artistic as coming a little bit below here. Way go. That's what everything's going to sit on. So if we look at this picture, you can see that I have a little bit of a wiggly line here and then I have my mountains behind. And then I've put a arrangement of trees one and a little higher to there and rather than right exactly the middle of the rock, I think I'll go off to the side. But this one and then three behind their 123 So 1231231231 And we're in business now. This is a pine tree, and pine trees grow like this. I don't know if you ever study trees, but branches go down in the bottom. That's perspective with the tree and you're looking at it. There's the horizon line. So the upward branches, the downward branches, air pointing down like this. And then as they go up, they start to flatten just like the bottle. And then they start pointing up and eventually get like that. Look at how in perspective that little tree is because we're using our knowledge off dimensional drawing, pointing down, pointing down eventually it points up. That's how we make our tree look three d pointing down my joy didn't do it too much. And then as her farther away, I just add things like that. Now, couple waves through here. And now here's our puddle. I'm gonna put a puddle in here. You see, my little six AG, and I'm not going to bring it right out of the picture. Just creating a pleasing little shape and I'm going to put one more here. Now we do get puddles right off the picture. Sure put. No, I don't think that's good enough. No, Look at our drawing. Take a look at your drawing. Gonna have a little weather coming in here. It should be a simple process to pay to death 10. Adding Dimension With Watercoloring: that's wet. The picture by wedding. The painting we are saturating. The painting with some water paper is very, very wet, and I may not want it to be too wet. So I'm gonna take a tissue and just roll it on there a couple of times padded. And now my paper is depth just the way I like it. Take a little more yellow poker with my brush under a rock and in the sand, but not in the bottle. There we go. I trust that the paper is just the right weapon. It's just going to spread nicely, and I'm not going to be in any trouble at all. Clean off my brush and the next step is I'm going to add a little bit of a cadmium yellow or hansa yellow, yellow. The's yellows are great because they're very, very yellow, and that's going to go along the bottom of this one. Not so much in here. I want the blue here so it looks farther. We're way and I might add, even a little couple touches to my trees. There, in my papers, just the right wetness. Okay, here we go. So see how the paper is tilted. If it's tilted, it's going to run, and that's what we want is running, even if this runs up a bit. So I take my big brush again, and this time I'm going to make a little puddle off the Crimson. But I'm going to mix it in with a little bit of blue that was left here. I'm kind of consulting my original picture a bit of a stormy day down on the coast, so tilting the picture up or down, whichever way you want the water to run and I've got three spots 123 could see its running nicely here. So what would I do there? Because it's yellow. I think I'll take a little bit of the Crimson, put it here and put little crimson into the sky. Three places. I like that Number three and go to tell. Pick this up so it doesn't go everywhere. That's why I like these boards. You could tell TEM different ways. Now you'll notice that the paper, the paint is only going where the paper is wet so I could bring it down here a little bit. So what I wanted Teoh is take a little water and redirect my flow. I want to keep some of this just the way it iss kind of reminds me of our candle picture we did with the festive candle. Watercolor tree is like on fire. And, you know, we do get trees on fire here. They're called Tamarack trees. They get pretty bright in the fall so I could take a rag like this to soak up my drips. I notice my first coat is quite light. It's not dark water here, so Oh, and here's where I put my first little touch into the puddle. But I don't touch it all. I leave some white. Well, that's sort of mixing. I'm going to take some pure blue because I really like this blue section here. Would it even pop it in here, poppet, in here a little bit. Whatever is up here. You want to put it in the bottom two and a little blue in the water because it's blue here . So there's my picture. I'm using that as a model for this picture. How do I make the puddle stand out simply by making it dark here, keeping it light here. So I'm going to darken up the sand To do that, I'm going to take some blue and I'm going to be tilting, letting things run. So I put the blue in this way and then a little bit of red Oh, I see some red up in the sky there. I think I'll just steal a little bit of red from here. Let it drip down into my brush. Pop it in here now when I tilt it the paper You see how it went over there And that's no problem. I take my dragon. There we go. So I think it's good time to repeat something. And the repetition is watercolors dry, lighter, not darker rock here. Little shadow area. Maybe a little bit of red in there. Oh, this is good reflection there. I noticed the paper starting to dry, and I'm just adding little bits off red and dropping it in papers wet. I couldn't drop it in. If the papers dry, it will stay in place. Now that looks like a bunch of dots, but it is going to mix. I think I need a little dark hair, so I'll take some of the fellow blue on letting Whoa, that's running is pretty wet, so I'm just gonna drop it in. Take my rag. Funny thing about water causes. They don't look that great when you put them on. They sort of, you know, But then the magic happens, and they start to mix all by theirselves. Drop it in there. Er, dropping it in. It'll mix nicely. Little bit down here. Try a little darker, get a little bolder. Uh, it's not going into my rock. Come right up to my rock here. Thes two lines here when a power through those things were happening here, drop it in before it dries Too much. Drop some in, especially in the foreground. This is the foreground. Middle ground background, My pop, my puddle. I haven't even modeled it yet. Hardly at all this one. Maybe one more. And another one here, just the dark in the bottom of the rocks. They just you know, it's going to dry lighter. So, you know, I'm going to get a little bold and put it really good thick. See how thick it is? Still wet, but it's thick. We're gonna let that drop down a bit like a stormy cloud and see what happens. I was drying up here pretty good. It's not moving too much here. Coming into the tree tilted a little bit over this way. So I like these boards. Like I say kind of bend the board, keeping my eye on here. Ruler. That that cloud that white clouds Pretty cool. Should I do it? Yes. Ah, whoa. That's a good I like that. Maybe a little water, A lot of little water. That's kind of bold just to make it run A Betsy. OK, it's running through now. We got a cloud here. I hope it runs right through here. Yeah, it's definitely It's running. Definitely coming through there. No, I got a little bit of water, too, because I want the agile. Little softer, as a matter of fact, leave a little bit of the white there. Just a bit. I think I'll open this up with a wet brush, see? Get a cloud forms. He rolled ing the brush. I was coming. And here we look at my tree over there. That's worked out. I'm thinking that's about right. There is the dark at the bottom. Got my eye on that. Still one, remember they dry lighter. 123 one. There, little one there, on a little bit right there. Okay, These air, the stage or colored pencils. And I'm going to use a few of those to do my puddle trick, which is to darken the edges that I can see. And of course, they break a little easier. But that's OK. Keep moving here. And there's a little piece there, so I can actually go over a bit of my picture with colored pencil. Next media is always great. I like it. There is my rock. I'm gonna have a little bit of this reflecting into a puddle here on my tree. Here, my rock. Why not add a little bit into the water? A little bit of orange on here and you could buy really expensive ones. But these air permanent, they're not going to go anywhere. And you can take your blending stump and take a clean one, and they will rub over like that. See you confront have been that's a kranz air. Wonderful for adding small details. If you feel like you can't do it with a brush, use a pencil crap looking for a dark green want to do a little bit of work on your picture , but you don't want to get all your paints out. Or maybe you just wanted to 10 or 15 minutes to relax, Taking up your drawing a little. See these air working great. A little more around the buckle, adding a few little dark accents. You'll notice this paper's bone dry Now, Once the papers dry, you can get the paint darker. Way rock. One little dark area in Iraq just here. See what looks like Now don't pull the tape straight. You may rip your paper. Pull it to the side. There we go. Great picture. 11. Seeing 3-D: Let's do some shish kebabs. All you have to do is take a few circles or round and round. Let's start with five some small ones, some big ones. 12345 Now each of these is a shape. It's just a round shape. We might call it a circle, but if I can give dimension to the shape, I can create forms. So I'm going to take a little stick and poke it right through this one. But it's going to come out the other side, and it's going to go to this one, not necessarily in the middle. Oh, and it's going to poke through there to the other side. There. Now, this one really does is starting to appear like it's round, especially if I do a little shading. And same with this one. Shading here, shading creates form, takes the shape and gives it form. Let's try one from here. Let's take this one and go through the bottom of this one. It's coming through this other side of this flat disc, and it's coming out the middle and is it going to hit this one? Where is it going to hit this one I think the same place gonna miss here. Keep the pattern going. And now this one is going to be going through here. It's going to come from up here. Hit the metal right there. See the metal go through. The whole is going to come out right here so you can continue. You could turn your paper on different sides and you could either miss the back and come out here. Keep the line going. Missed the back. Come out anywhere on here. Let's go through the back of this one and see what it looks like because that one went through the metal. So it's going through there and just got to come out through here. May make it. Whoa. Gonna hit here. What's going to do here? Uh, let's see. I think that one's coming out here too. So you're starting to think a bit as to how are they getting through? So this little game is very, very helpful. You can even take a curved stick. Come through here. If you go through the back, it comes through the front. If it goes through the front, it goes through the back. If it goes through the back. It comes through the front, you see. So try again one, 23 on a curved line. If it goes through the front, it comes out the back. Then if it goes through the back, it comes out the front. It has to come out one place and out another, and you could start to play with this and have a good time. Because if it goes out, one end goes in here. Got to come out here. If it goes past here, then it's gotta come out somewhere over there. Just keep playing with this idea off in, through the front, out through the back. Okay, Can they all go out the same way? Let's see. Let's take a look and let's try a different approach. If I have three of them and let's say they're all going to be coming in here, coming in here, they're all going to be exactly the same. What is that going to create? Hot creates like buttons on the strength. Let's alternate them and see what happens. If you don't play with these games, you are just being a trained dog, and that's not an insult. What I'm saying to there is that you're just doing what you see and you're not thinking when you're doing, you're just doing what other people are showing. You see no dimension here. The line appears to be behind them, and that's fine. If you can still think three d and you add a little shadow, take my little blender. Here, take a little shadow off there and now the ball's air in front of a back line. So the line is behind you see, so play with in front and behind, going through the front, out the back, going through the side, hopping over and never coming out through creates a different look unless you put both of them through here. Now what have you got now? It looks like they're being sewn together. See how Maney ox, how this develops. You can create a sewing stitch here if you're really take your time and it'll look like they're stitched together, you could even have little line here and now they're buttons. It's wonderful. Just this little we called shish kebab. One ball, two balls. Put them together and you've got a shish kebab game 12. Parallel Perspective: we have a quick little drawing of a farm scene, and you could see that it's two dimensional drawing of a barn and a little shed here on the road. Now, the three dimensional part with depths depth is the big word D p T page depth, meaning how to get into the picture, how to make it look deep. So here's a quick little exercise in death. Put a dot anywhere on your paper and just put a line through that represents very simply, your eye level, meaning If you're up high or down low, there's always somewhere your eye meets the sky and the ground, even if there's a bunch of things in it. Now, just for interest sakes, keep your eye on the dot and make a little square and let's put in a barn roof. Barner is pretty easy, just kind of scoop it down like this. Make sure the roof overhangs so things don't get wet and put a little ventilation on the top. And it was a little weather made up. Their very simple little bar. Nothing complicated. Well, even put some doors in. Now you notice that the barn is above a little bit of that. So now you can dark and behind the barn. Now that dot represents the far at this point that your eye can see taking for granted that there's no mountains. It's just sky from here to here and ground from here to here. Now you're I tells you that the sky disappears behind this imaginary line because the line doesn't exist because actually, we live on a sphere. We live on a sphere that spinning through space. We love being on it. And there we are. It appears that we're always looking out. So our vision here is looking can only look in a straight line. So no matter where Maher vision looks, always seeing something an imaginary straight line. So keep that in mind. We are magicians. When we drop, we are creating the illusion about the illusion the railway tracks really don't come together. If they only appear to now, A simple way is to look at the anybody dot and draw two lines out like this. Now the barn starts here. So this is where you wrote IHS. Now this is a very simple road. It's just going straight into the barn and magicians don't let people see their tricks. So there is the 80 biddy dot on the horizon line drew the barn in front. I don't want anyone to know where that trick and we're actually going to hide that door. I mean, hide that dot in the middle. There's my little turn the dot into a door, put a window, appear to distract everybody and everyone goes, Whoa, that looks really How did you do that? Puts him dotted. Our thoughts in there puts a fence post. Tim and I have quickly, very simply started a three dimensional picture using one itty bitty dot and creating depth into the picture. But the barn is still two d. The only three D that I have added is depth into think of the word into into the picture I have created death. Now I can put in all the things that obscure the horizon line, and now the horizon line actually looks like a lake. But if we could get rid of the mountains, this of Horizon Line would still show up behind the mountains. So that's the trick of the anybody. Lots of different ways to draw burn. This is one from our neck of the woods here on. If you look at all the parts, you start with Cuatto and then straight line across. Come up like that, similar to the house, it's dropping your kid. Now the next part is in the middle is the next part of the roof. Barnes can have complicated Ruth patterns, so always prevail dot there. Show me where to put and a lightning rod of your choice, and there's vents at the top. You always gotta have a fence so it doesn't blow up when you fill it full of hay and another door here to get a in, and usually there's a chain here with a hook, you can pick up things, and this one actually is flat. Good overhang and the doors. He could do lots of patterns for doors. Put excessive them cross like this for structural support. You could frame the men, do whatever you want their little handle. Here's my curve starts here. It's wider here than it is here, at a little tool shed here and at some firewood here. Make sure they're equal here, so that looks like they're on the ground little door and subsiding. You do any kind of citing what? Fill this up with lots of little circles for wood, and you can also put in if you want leading up to the barn. So gravel. And of course, it would get wider here. So you're always gonna be a little bit wider down here. And now we're up here, the grass on the side, we're travel. And next part is you want to put a fence. But because you're looking at the fence and we're not going to do a three dimensional fence this time, next time I'm going to show you how to do it and put in some rails one to the ground there but barbed wire in but a telephone pole. The math behind there could be anywhere. Switzerland, Montana and important part is a line sort of hops over everything, less defenses in in the background, but a couple telephone poles. If you still have those hanging around and there, that's another way to do the barn just because it's small 13. How To Draw 3-D Cats: There are just so many fabulous applications to the six lines that we discovered in our first class, which are round and round up and down, back and forth. Zigzag we go and dr those six our shapes and lines. When you take shapes and lines and turn them into things, we create form. We can stay in shapes and lines, and that's called two D drawing. Like there we go. There's our little dog. It's all two dimensional. Oh, there's a multitude. OK, but if we start to draw the dog in a three dimensional form, he starts to take on more former C. And that's what we call three D, meaning he has dimension more than two dimensions. He has three dimensions and shading and light. So the same drawing done with the same material. Let me show you. This is so exciting because when you think see, in three D, there are no barriers and you feel so confident. So here is a two dimensional drawing from our first class. We called him hurt and everything I put in my two dimensional drawing. See, um, let's make it a bear this time. I'm going to keep it a little simpler. I don't do the zigzag set. So here we have our little bear. A lot of Littles exact for interest. And there we go, poppet. There. Even though I have shading, I don't have to mention I gotta be careful, though, because I'm starting to get some form here. Just a little bit of shading creates depth, so I want to keep it straight here. Now let me show you why It's a little different in three dimensions. So in three dimensions you have fronts and backs and depth. You could see you've got depth going This way you can see from our exercises that we did, how this works. So no longer do we just use circles. We use ellipse is when we draw in three dimensions. So I'll put the same thing. I'll do the same lines, this one followed by this one. The only difference is there a little bit curved. Looks like his head is gonna be twisted. Not quite sure. Why did it like that? But I'm not gonna worry about two eyes. One I was gonna be here and one eyes going to be here. Yeah, it looks like he's bending over or something. Now, the ears are on the sides here. So I'm going to see one here here, But the other year is going to be on the other side on this part. So it's only gonna pop over like that of it. I have an ear on the other side of the head here, and this is the little little little walking here, so I'm going to just add it down like that. Oh, that's okay. I'll just incorporate that. Put a little mouth here shaded in, and there we have the same basically the same drawing. But it has more dimensions to it. A little shading. And we're in business here, and we're starting a three dimensional. You know, I think I'm gonna switch to these and keep your fingers a lot cleaner. Why? I never used him before in classes. What a wonderful thing about teaching as you're always going to be learning hopes. His head came off. He's a toy is on the end of a pencil. There we go. Little short pencil pencil savers. What? I really wanted to show you was our cat project. And after that, a puddle project. So the cat project. We had so many people who asked for cats. And we've had, like, five or six cats. So I'm just going to show you how to draw some cats. I got to know a little bit about cats. Either have a picture of cats or have your cat. And I want you to be exploring first before you start to think that maybe, Oh, this is no good and start over. And although this is no good to start over, just get to know what casts are, what they do, where their faces are, like what to do with retail. What shapes Now we're going to do a simple head shape first, first into two D and then in three D. Now the two D shape cats are what we call a five a gone. So we're pigs and many other animals. Five. Gone meeting 12345 Shapes are great. You need to know some shapes in order to make form. Three dimensional forms come from two dimensional shapes so that the shape here when we're doing it in three D looks like that. Basically, everything comes from the circle. That's another beautiful idea and all circles come from a dot It's just the first thing that was ever discovered that believe the Egyptians or maybe someone even before then. Then you can square the circle. I see. So you could do the same thing with that five going to get five. You see, you got straight up here. 2345 Okay, now, from there you can add the simple one is called J Foot Cat, and it just comes down like this and just two dimensional. Very simple. Right down the middle. You know, lines of like this are great for keeping your drawing intact, and you can erase them later. But for our little friend here, our three d cat, we do another e lips and we add another two lips is on each side because we're going to make it a little more realistic. These are all the steps you need to practice them to get good at them. So on the J foot cat, we do it like this, and this is more of an animation stop. But this is for more realistic drawing cats, something like this. And you can see all the steps here of how I do this using the circles. So here we are here. Looks like we could make a good how all of this to the possibilities are endless. Now, just add a little foot here like that. You see how important it is to draw millions of thes circles and ellipses. You know, if you're at work in your board and you've already got your paycheck for the weekend, you feel you've done enough. Sit there every day for 10 minutes and draw circles over and over and over and over and over. I guarantee you, your drawing skills will be elevated in one week. Okay, Next, hind legs on the two dimensional cat. It's simple, and we just go like that. So this is easier to understand. You don't have to think too much here. You just have to do. And that's how we teach a lot of people. Starting up is just do it, get good at it and feel confident. Now here we're thinking of it more. We have another leg that we can't see behind these legs. But is there still a foot there? So I'm sort of drawing things through. This part of the leg is behind this whole part of the body and these legs air in front of this whole part of the body. So we started with this part of the body put in these legs that we've put in these legs says 123 sections. But check out what's happening here. See, the cat has shoulders. And depending on how good you want to make this drawing, you might want to look at your cat's feet and see. Exactly. I'm just gonna keep it simple. And instead of going this way here, I'm just going to go like that. See, I'm gonna invert the curve. It's kind of like the yin yang symbol, you see. And that's what I've done here. Just inverted and how to invert the curve. I just Well, where am I? Here. Let me see. There it is. Oh, it's right there. See? This one got a little dark in front. It's right here. Oh, but this one's nice. It's already got these little feet thing in beat. And then I invert the curve here. Whoa! Nice. There's the bottom of the cat. How about a little erasing here just to clean up things? So, three eraser. I can clean up a few things here cleaning up the lines. Noticed the eraser is helping me to draw. Okay. Next, I might have put the shoulders a little too high, but I can adjust that I don't have a cat in front of. So now the back when I darken and once again put the feet in. Those were the legs in the back of the cat. Okay? I don't even think I'll put shoulders in there. I think I'll just erase that, too. And I'm pleading up my drawing with my racer. Just kind of loosening it up way. Go take my blender. Here. Now there is no You look like a little straight. You can even go through your way have little cattle buttons like this. And if you know cats, some of them take take a little walk one day. So polite they're now watch the cat's face. 1,000,000. Look at the cats. You can go online and get punching cats on Pinterest 1,000,000 cats, literally. They're all different face shapes. But what I like to do is just make a little triangle here on the bottom half these air called guidelines. You know, cats look like they have eyes on an angle, but honestly, they don't. They're straight on their face, just like us. I'm doing really simple here, but it's their eyebrows that go up like this that make it look like the eyes are on an angle. He's got an attitude. Where's my food? Or maybe if you know anything about cats and you have a dog somewhere, I'm going pretty faster. Cat dish. He laps he lips to ellipsis. See one small one big. Join them up. Cap dish. Okay. Uh, that's good. Okay, there's the cat. There is food there, but she wants her something different. So if I did this again 03 years Just Adam on the side. A couple, not Akapol. They've got these all over the place, so I might have might lower the these next time. But you saw how I did it. Now cats. I noticed something about cats. Dogs can have pointy tales, but most of the cats I've observed have a round tail now. I don't know why, but that seems to be the case. So there we go and I can adjust with pretty the tail in a different place. I could draw this a few more times and I'd start to get this cat looking pretty good. So that's our cat. We may be doing more as we progress with our course. What about me? All we forgot this little guy. You know, these little easy two D drawings can be three deed up simply with a little bit of work. So actually, this three D drawing could be turned into a fairly decent drawing here. I have a little fun with this one. I'm gonna put this cat in a vest. You might think if you don't have a cat, you might think, Well, that's a little strange. But you know what? My oldest granddaughter dresses her cat up her dog up as a dinosaur for Halloween. Let me see. How about big eyes? Uh, there and not quite as mad. Now, see, cause the eyes air big and they're up. This is cute, actually. And what else could I do? Well, you know, I'm going to take the back legs and the tail for now, and I'm going to given a little more of a human look, as they do in cartoons and put arms on my cat and I think this? I think this cat, maybe the tales going to be on the ground behind him. But I might even leave the tail right out. I'm not sure Vicky Mills has a tail. So they're now see what I've done here. Added things to my cat and that animated the cat from a realistic looking cat in animation . Got kind of like to tail there, but band, you know, And once again, you could take your blending stuff. And you can get this looking quite three d Also shadow Go cats, Gods, gods. 14. 3-D Illustration: Demo: Lear's on. I did a few more drawings of cats. I like this one where the shoulders air down a bit here and the feet sort of come together . This is a little bit distorted, but it gives it a nice look where you make the edges go out wider and the feet smaller. This one's gotten attitude. He just standing there. But his head's turned. They're all using the five. See the 12345 And then the ears air added onto it like that so you could change the angle of the five. Here's five here. 12345 The first thing I put in for this one was this curved line here, all right, and I basically just went like that so you could practice a few these curves, and that's the backbone and the cats turning around. So after this curve, then I put in this curve here. That kind of looks like a crescent moon. Now this is where the hands going to be right about there, see where the curve ends, so we'll put a little curve and like that. And then there's a curve here for a leg and basically continue this one and out of tail in pointed around and there's your basic shape. So if you practice at a few times you see you'll get even turned that into maybe the tail. I see. So you get good at this shape and once you've got that shape, and then we just come up with another line up like that and then you can put in your 12345 years in. And you got a real nice little picture of a cat turning around bending around. You put a little Paul over here, maybe see what? Maybe they gotta gonna lick his paw next. So this will shape here. Great one to draw just like that. Come down there. Follow with a line here. This line, you'll have to practice it a few times. Basically, we've got first line is one, then this one, too. And then this 13 And if you want, you can extend these two here for four. Then add the face. 12345 years and the little line here for the chest. I love this little drawing. This one here, the same thing we have aligned. This way. Nice little line and a curved. It almost looks like a being. Think of the shape of a being. You'll get this looking about right so being shaped and we have a lake here and lank hair. I don't even put in the other part of the leg and maybe a little little rounder. It's more of a Siamese type cat, bigger ears. So eat these cats. Great. Only have to do is go online. Look up, cats. I know Pinterest, whatever, wherever you're going to find him and the long tail it puts him. Spotters are basic. One backwards, a little bigger. 12345 And I made the years a little more three D by adding tops to them. So all these cats come from that first cat that we practiced the little boots Air Sea and this one's in behind underneath and this one curves and his little paws showing here because he's walking. You do the same thing on the back and that detail. We'll look at that tail alley cat, so cats, cats, cats once again have some fun drawing them, and I'm going to do a quick painting of one great water about all my cats here. I don't want to redraw these cats, so I'm going to show you the quick way again. Every a lot of you know how to do this. All you have to do is take one of your pictures here and dark in the back with pencil like this. I'm using a six b pencil because April transfer really quickly. Kind of a big sheep sheet of a £90 watercolor paper. Justin. Inexpensive watercolor paper you could buy anywhere. My cats here and what I'm going to do is I'm gonna be transferring lots of cats to my cat paper. Did you? The whole cat. So I'm on you. This little, cute little face. Here, put that one in. Next. I think I'll put this big one right on top here. That's what God is gonna be behind this one. But I'm just gonna free Dr just to show you it's okay to draw over things on. There's his head. 12345 No notice. This is probably that 50 or 60 cats are drawn and it gets easier the more you do it. So the more you draw these little guys the better you're going to be at it. So there's his head. There's his body. There is the foot. They're gonna add a little paw there. Little paw there. And he's got attitude. This little guy, you can't see the other leg behind there, but that's OK. We're just gonna put in two legs and tail coming up like that. And there he is, in behind all the other ones. There's the three d part. Bring the ear into the body and just add C talk to the ear. Had a little bit of it. So what? Whiskers there? There's his face. And now I'm just gonna throw some put a line through the middle and throw some page on this . But some mountains may be behind. Here it create a little scene. Maybe they're down by the beach. This guy's been buried in All right. Well, that okay, don't take the tape off