Realistic Baroque Drawing – Volume 2: The Human Figure

1. Realistic Baroque Drawing Course Vol 2: Human Body: Welcome back to the Realistic Baroque Drawing course. This is the second level of the Realistic Baroque Drawing series. Building on the foundations of the first volume, we now move into working directly from life, developing two complete figure drawing exercises from life models. In this class, we will take a very different approach. We are not going to study human figure in the analytical or constructed way. Instead, we will learn to draw it directly as we see it in a more intuitive and immediate manner. The goal here is to respond to what is in front of us, allowing the drawing to develop naturally through observation and gesture, rather than through rigid structure or measured proportion. So we will go deeper into a very special way of building a drawing, an intuitive free, artistic and organic approach to representing the human body closely aligned with how the old Baroque master used to work. Throughout this course, we will complete two full drawing exercises. And the first exercise, we will draw a female life model using pencil and sepia pastel, focusing on Yasser, observation and tunnel construction. In the second exercise, we will draw a male life module in a fully colored approach, moving from pencil to color, exploring a richer and more expressive use of tone and chromatic structure. So I will guide you step by step through both exercises from the very first lines all the way to the final details that bring each drawing to life. We'll be working with life models, which will allow you to observe the human body in a more direct, sensitive, and expressive way. This class is designed for those who want to learn how to draw the human figure in a more free, intuitive manner, less dependent on rigid formulas. It's important to mention that in order to fully benefit from this level, I highly recommend you you have already taken the first realistic Baroque drawing course. We are building directly on that foundation. For this class, you will only need a pencil, a large sheet of paper, and a sepia tone pencil for the first exercise. For the second exercise, we will introduce color materials, color pastels. As a course project, I will invite you to complete both drawing together with me. Using pencil, paper, and the materials of your choice. It will be an opportunity not only to observe the process, but to truly experience it yourself, building each drawing step by step alongside. Now invites you to begin this new stage of the drawing course. We drawing stops being a formula and become a living experience of acceleration and construction. I'll see you inside. 2. Female Drawing Begening: Preliminary study Sketch: We are ready to start addressing the female body. But first of all, we are going to know the format and the paper in which we are going to work. I'm going to choose the background paper, the largest one. It's particularly beautiful because it has a slight shine that allows the graphite to shine more than normal and adheres to the paper more easily. As you can see, there are also other papers we work with in the portrait By Atiler. See the difference between the colors and remember that you can always use the color of the paper as if it were part of the drawing. Everything depends on the taste and the style of the drawing that we want to do. In the case of the paper we use for this drawing, it also allow us to make smaller details because it has a much smaller grain. We are ready to tackle the body of the beautiful Dorothea, but first we are going to do a construction study to be able to understand through this first method, how to build the general shape of the body in a more technical way. In this case, we are going to draw Tor Thea from the three dimensional projection of the body on the ground. It's a smart way to build a body when lying on a flat surface. You have to understand that the human body is an object. There are no theories to build a table or theory to build a three. So the same thing should happen with the human body because not all bodies are the same, despite the fact that in the theorical part, we saw more or less how to approach the parts of the body. I only works as a general idea of how to visualize the human body. For having tools that make us better painters. But the truth is that while we are drawing, we can constantly break the rules. We will try to see the point of view to determine the position of us. We can initially see that our eyes are in her eye level, that is a good reference point to do our study. Then we can start to represent with a line the reference point of the head of our eyes. Let's say they are right in this place. Then from there, you have to feel and perceive the two dimensional shape of the entire composition that we want to make. In other words, find which is the geometric figure that constitutes the most general part of Dorothea's body. Then we can begin to draw a triangle whose angles allow me to know more exactly the proportion of the body, and the triangle also allows me to position the head. We can also find out the geometric figure that is formed in the part of the furniture. All this is part of the drawing. This method lets me know if the overall composition of my drawing will be large enough for the format. Once we have the general fire, we must learn to position the body parts on the ground. Why? Because as the parts of the body move away from our point of view, they become the form. What do I mean? I mean that the objects that are at the level of the torso are not the same point of view as everything that is at the level of the legs or the mask. This difference in perspective must be represented correctly, and it's not necessary to make a drawing grid to achieve it. Knowing the general position of the head, we can draw a line that reaches the bottom to find out the size of the torso with respect to the ground. After drawing that line, we must measure how many heads fit the distance between the head and the hips. This measurement will allow us to know where exactly the ground is located. From there, we can draw horizontal line that allow us to feel the ground and mark exactly where it's located. Notice now how we can draw lines to discover the position of the legs from the head. This position of the legs allow us to know where the ground is and so on, to try to build the entire surface where Dorothea is located. All this from the construction of the general scheme of Dorothea. We can continue making geometric figures to find out the size of the hips through the triangles. Little by little, we are going to build Dora tail's entire body under a single exercise of relating shapes and angles. Don't worry about the accuracy in this exercise. It's just an example to have a general idea of how to build the body from a general geometric figure. Knowing this, we are ready to move on to our work on German paper. Our final drawing that we will start doing in the next class. 3. General construction scheme: We're ready to start in our luxury German paper. It's a very beautiful paper, as I told you, because of its brightness and its small grain. What is the first thing we are going to do today? We have to observe the image that we are going to portray. Whether it's an aesthetic image or a live model, we have to see the image to learn how to occupy the entire space as we did in the last exercise. And on the other hand, knowing if our composition or image has the right balance or not. In the case of this image, it already has the correct balance because I prepare it that way for you. But I'm going to explain why. If we draw a vertical line that divides the image into completely equal halves, we can see that Dorothea's face is not right in the middle. It's in the right half or slightly to the right. This is due to the fact that human vision is nocular. That is there are two eyes that are seen at the same time. Therefore, our mind uses only one eye to focus attention and the other eye as a compliment. The mind finds it much more comfortable to contemplate an image that facilitates this phenomenon. If we divide the image into nine equal squares, we can find these four meeting points where we could place the main element of the composition so that it has the correct balance. If you look closely, Dorothy's face is close to the point of ve and to the right. We are going to apply then what we did in the last study in the sketch, building a general geometric figure that represents the composition and fills the entire canvas. Remember again, to divide this line in the measurement of the head to know how many heads fit up to the hip position. This measurement will not only work to know where the ground is, but also to relate it to the other elements of the composition. It's a useful tool in the construction process. From this point, you can try to build different geometric figures that are formed between the different objects of the composition. We can make as many figures as possible to find the distance between the objects and the correct proportion. We can also draw other vertical lines to continue finding out where the different parts of the body are located. We can continue to draw Dota's entire body in this way, but we could also help ourselves by building the three dimensional geometric figure that makes up the entire space where Dorothea is sitting. It's a parallel pipero. It's not perfect, maybe only the right side, but it's just to show you that it can also be a construction tool because that way, we can feel more the sense of perspective of the image. We can see how Dorothea's legs should look bigger into drawing than her torso. We will continue to build on this initial outline in the next class. 4. Body and left hand construction: We are going to continue building the body from this technique. Note that I don't have to build general skin for each part of the body, as we saw in the theorical class. Simply continue relating the angles. Something important to note is the construction lines. We must try not to be afraid of drawing several construction lines because the brain will automatically choose the one that most closely resembles the model at the end of the construction. Obviously, we have to train our minds to have that sensitivity, but that is the function of the sketch. That is the function of drawing several lines when we try to discover the shape of a part of the body. The perspective must be felt above all in the extremities. See, for example, the general shape of the hand with respect to the head. It must be large because the hand is closer to us than the head, obviously. We must draw the general geometric figure that constitutes the hand in the same way as we did the body at the beginning, relating the angles always to achieve precision. The same way it will happen with the feet. The front part of the foot should look bigger than the heel for the feet of the perspective. This is a result of having done the perspective outline correctly at the beginning of the drawing. On the other hand, if we know that the toes are in contact with the ground, we already have another reference point to continue describing the surface in which Dorothea is lying. Drawing across the angles is not only important for building the body parts, but also for doing shadow grading correctly. If we look carefully at the shadow that is generated in the crutch, this shadow is the same that is generated, for example, in the hair, and it's an excellent point of reference to know if the relationship between darkness and lightness is correct in or drawing. We are going to continue advancing in the construction of our body and the furniture next to it. Watch as I continue to make lines to find out a tilt and its connection to the other elements near Dor Thea. So I'm going to correctly build a mask, the piece of furniture, and the fabric that covers this furniture. To build the dimensions of the gabinet, we only have to measure the angle from the upper left corner to the lower right. As long as we detect the inclination well, we can correctly this kind of box. To discover the correct rounded shape of the muscles, we can make small lines with small angles of inclination. It's easier to detect the correct shape in this way. We must try to feel the connection between the bones and the clavicle and the shoulder. On the other hand, we must begin to represent the shadow gradient through the line. That is the amount of shadow and light must be represented on the line, adding more or less graphite. Let's try to represent the muscle of Dot's abdomen. We can draw her abs capturing the exact shape of the edge of the body. Notice how the exact edges allow us to capture the muscle of the arms with precision. You have to be very precise to get the right effect. See how the bones of the shoulder connect with the bones of the clavicle. This must be, felt and represented. In the same way, all these bones connect to the neck. We can use the inclination of these bones to have a reference points to add precision to the structure of the upper torso. In the crutch, we can start rendering the shadows to build the rounded feel of the leg and the specific shape of its muscles. This would be a small approximation to the gradient. This area of the leg is very useful because if you look carefully, it contains almost all the range of shades that appear on the body. We are now going to try to remember everything we saw in the theoretical classes, not only in this volume, but also in the previous one. We are going to build a hand from a general structure. From that general structure, we'll grow the small structures of the fingers to feel the general shape of the hand. From this reference points, we will build the curves that form each finger itself. In Devaroq, the cost of a portrait increased if you had to include the hands in the portrait. We already have our hand built. However, we will continue to improve it as the drawing progresses because the final shape will not be ready until the shadows are applied. It's important that the width of the hand is seen on the skin of the leg. All these sensations will take a drawing to the next level. We will continue working in the next class. 5. Head and right hand : Et's continue with the right hand. I believe that the best way to understand the construction of any element is to go from the largest to smallest. In the case of this hand, build a general shape and then discover the specific shapes of each of the fingers. We could apply this not only to this hand, but to the same steel life that is on the furniture. Let's try to fill the draw in general, your shapes, your reliefs. We are going to move on to drawing the feet. Remember that more important than building the toes is that the sensation in the distance is attractive. In our image, the feet are partially shaded, so the details are not that important. The interesting thing about this volume two is that now we are going to refresh the knowledge of the Bay Attie Volume one, the portrait. We will try to apply the same relationship of angles to build this phase. We have to try to trace all the different surfaces that make up the volume of the phase. If we mark each of the shadows as a umetric figure, we will build a three dimensionality of the phase. You have to be very patient because in this case, it's a small space and the margin of error is also quite small. We can also help ourselves by eventually drawing vertical lines that help us discover if the position of the different elements of the phase is correct. Pay attention to this detail. If you look carefully at the septum of the nose, the left line of the nasal septum practically, doesn't exist. It doesn't exist because it's the fact of light from the point of view that we are seeing it. If we were to make the line, this would mean that the nose is different, or that the light has a different intensity. This is an approximation to the final result of the phase. Many details are missing, but we will continue addressing them in the following classes. 6. Shades and finishes: Hatching and first tones: We're going to tackle the construction of the shadows of this fabric. To generate the correct visual effect, we must observe that the lightest point of the fabric is much less luminous than the lightest point of the skin. What does this mean? We must fill the entire fabric with graphite so that the range of shades of the fabric is less extensive than that of the skin. That range of tones is the main characteristic of this type of fabric, a velvet. Remember that more important than being exact is true. It's more important that it feels like velvet than the folds of the fabric are exact. In the same way, it happens with the mask. It's more important the shine and the texture of the mask than to find the exact shape of it. After making faces, parts of the body, it will be child's place to make this still life because the fruits are made up of more regular geometric figures. Let's always try to enjoy making still life. Perfect. Before addressing the shadows of Doro Thea's body, it's better to relate the shadows to each other. See each shadow of the body well and understand that I said before, if the shadow that is on the leg matches with that of the head or that of the certain part of the arm, we must apply the same amount of graphite in that place so that a more professional general tone is felt. Now, we are going to add an extra material to generate a more interesting finish. I'm going to use a soft pastel chalk to add a sepia tone to the skin. You could choose the specific ton of sepia that you want. In this case, I'm going to apply the ochre ton with some cream ton, and I will also mix it with some white. Once they are mixed, we must spread the fingers with the shock and apply it on the skin, especially in the areas of intermediate tones. You can apply as much shalk as you like, but be careful not to destroy the shadows made with the graphite. It's important to know that this is not a color effect. The colors work completely different, and we will see it in the next drawing much later. The shock that we are adding will work within the range of this exercise, which in this case is only two colors. You can experiment to get your drawing a more classic finish. We already have all our shock distributed. This is not the final finish. It's simply applied to be able to play with it later. From now on, we will be able to use the eraser pencil to create lights on the skin, using the color and brightness of the paper itself as part of the drawing. But we will see all this in the next class. 7. Deep tones: We are going to start by working better on Dortea's skin color. To achieve that, we must try to disappear the lines of the body or at least make the fort to disappear them. This doesn't mean that we are going to disappear the hatching completely, but we do try to blur it as much as possible to keep the drawing more smoothness. The line itself should not exist. The lines must be the result of the difference between one object and another or between one shadow and another. There is a very important detail when making those shadows, there are almost imperceptible. Depending on the surface, where the shadow is, and even on the shape of the object to which we are applying the shadows, we must try to draw it in the direction of the object, trying to do a hatching that simulates the shape and surface that we are drawing. This will help render the surface effect correctly. Observe the evolution of the drawing. You can already notice a much more three dimensional aspect. We can even continue adding a little more chalk in the intermediate areas to continue improving the volume of the body. We are going to improve the quality of the shadows of the whole drawing, improving the shadows of the legs and feet, and especially the area of the fabric and the furniture to make it look really good. Look how the velvet looks. Its range of tones is much darker than the skin. And even if you can see the detail of the mask reflection on the leg, it's because this relationship of texture is well done. We will now move on to the construction of the mask, but we will do it in the next class. 8. Final touches to the portrait: To address the shimmer effect of this mask, it's important to understand that the shimmers have almost mid tone sounds. It's a set of very well defined high contrast that generate the effect of reflections. We are going to pay attention to this part because not only here we will see a shiny object. If you are also going to take Volume three of the B Allen in Baroque drawing, there we will also see a bright object in a composition. H Notice how good the gloss on the mask looks right now. We can keep improving it, but it's pretty good so far. If you realize it, try to see the most illuminated point of the mask and try to look anywhere in the drawing, the skin, or the fabric for a point that feels more illuminated than that. That's the secret of metallic glitter. We are now going to start working on the face, adding details so that the shadows reveal Dorea's face. Perfect. Look how we already feel Dorothea on the paper. There are still many details missing like those of the seal life, but we had advanced enough to feel the drawing of the model quite well. It's very important to be patient and try to generate your own style in hatching. Hatching is the artist's fingerprint. Don't eliminate it completely because the painter's emotions are transmitted through it. We will continue working on our drawing in the next class. 9. Building the background and the finishing touches: Before we move on to the still life and another final details, we have something very important to do the background. The background is what will allow us to better perceive the volume of the bot's body and give emotions to the body portrait through lighting. A good body portrait is nothing without acute background to make it stand out. We can be guided by the lines of the room to finish building the surface where Dorothea is sitting and feel the dimensions of the place. Remember that in our image, the light hits Dorothea more. So the background should be darker, and this will make the part where Dorothea is feel more illuminated. You can even remember the parallel pipet that we built at the beginning as a reference point. Anything is useful at this time to build a background. On the other hand, don't worry about the small details. The most important thing in this drawing is Dorothea. The frame lying in the background is part of the environment. So just representing it creatively will be more than enough. Look at how the sensation of space around Dorothea can already be seen. It's incredible how important it is. Feeling the depth behind Dorothea seems to help us feel even better the volume of her body. We are going to try to improve the borders. That is those borders between Dor Thea's body and the background. We will improve the details of the hands and feet, as well as the details and shadows of the seal life. Now our drawing is practically ready. We are finishing fine tuning the last details like this delicate necklace. In the Baroque, lighting was the most important thing. You can try it yourself, trying to draw people you love, people important to you. All of this will be reflected in the hatching and in the sensations unleashed by your minds. 10. Interlude sketch: This time, we're going to make a drawing using our imagination, using the technique of angles, using what we learned in Dortea's portrait. And that reference of the structural scheme, what we have in the upper right corner. I must confess that I had the idea to do this exercise before Dortea, but I think it's better now. We have already approached the female portrait from a model, and now we are going to make an imagined one. I think I said something about this exercise during Dorothea's portrait. I don't remember exactly, but the thing is that it's better to see this exercise at this moment. We're going to build a female body lying on a bed. We are not only going to make the body but a space full of fabrics like the ones we saw in Dorothea's exercise. These are the dimensions of our canvas. It's quite small, but it doesn't matter, unlike Dorothea's exercise, we are not going to build it from a general figure. Remember that there are two ways to make a drawing. The first is a general figure whose interior has the specific shape of the object, whether this object is a human body or anything. And the second way is what we are going to do now. Build the entire body from a specific area of the body. In this case, it will be the hips from where our drawing will grow. From the technique of angles, I'm going to build the hip space. Try to notice I'm drawing a figure similar to the one in the image that is avove and to the right. In this drawing, we are only going to concentrate on the body, not on the details of the hands, the feet, or the face, only the structure of the body, the gradients, and the fabric. The idea of doing this exercise is to understand that when we build drawings from the imagination, we are always going to work with a scheme that we already remembering. In this case, it's the scheme that we are seeing in the corner. As a consequence, or drawing will resemble that skim, and that skim or a similar one could be used by another person. Therefore, or drawing will not be as original. However, if we have drawn many types of women that we select ourselves and we remember them very well, when we go to make an imaged body, those will be a reference, and that will give an original touch to our work. If you see the image above, there is a well defined valley area. It's my basic reference point from where everything is growing. In the part of the breast, we could be a little creative. There are many types of bread, and even among themselves, they have different sizes. We can have as a reference the work we did with Dortea to experiment here. I think that a fundamental aspect is that, regardless of the point of view where we are seeing them, the weight should always be felt in the fall of the breast. Don't watch should also be felt. Another extremely important element is to define the direction of light even before making the drawing. In this case, the light comes from left to right and slightly from top to bottom, just like it should be done in most cases, as we learned in Volume one. Remember that you could use light differently to generate other emotions. But this is a classic way to apply it to make your drawing look its best. Notice how the right breast area should be darker to give us the feeling that the arm is blocking light. All these details speak of the direction of light. Sometimes it's not necessary to explicitly state the direction of light throughout the body. There are certain important details that speak of the environment where the object is, which in this case, could be a room with some light input. In the case of fabric, we can simply remember the folds and wrinkles of the fabric, trying to make them freely because we don't have a reference. I make this example to show you how we make the fabrics from an imagined exercise. Notice how important it is to cross the hatching to generate different specific gradients. There are many possibilities in this way, because in addition, to using this way, we can use the fingers or the blender to smooth the hatching. To improve the lights and gradings, we can use the blender as in this case, and removing the graphite to add lights to dt drawing. The most interesting thing is that depending on the intensity that we apply, we can remove more or less graphite according to our criteria. And there is our quick drawing. Notice the gradient. Notice the shape of the body and how with the different shades of gravite we can make it feel like a fabric or the skin itself. The hatching is important because it's not completely blurred. And even so in the distance, it managed to have a quite attractive effect. This hatching began to be used in the Baroque, but then it transcendent the times and reached the impressionims. Once the photographic camera was invented, it will no longer be necessary to represent the reality as the camera did, but through stains to achieve this real effect. See you next class. Me 11. Male Dragon Beginning: Building legs and mantle.: Perfect. Now we are going to work on this full size self portrait. This is our canvas, a medium thickness drawing paper that will allow us to draw easily and smoothly. The format is quite large, which will allow us to include all the elements that help us tell things about this character. This is the most important thing. So what is special about this self portrait is that we are going to do it from a creative point of view. We are going to be inspired by Caravaggio. The great masters, specifically in this work, since we are not going to limit ourselves to only portraying the body, but also at elements around that tell us something about this character. I will leave those elements for the end because we want to concentrate for now on building the body. Another interesting aspect of this self portrait is that we are going to transfer the language of graphite to the language of dry pastel, quite similar to the process in which a painter begins to create a masterpiece. So let's look at the model carefully to imagine how he should be represented on paper. Perfect. This time we are not going to make a general outline of the body. Let's start with the hips, the shape of the hips. From here, our drawing will grow. We're going to relate the shapes, the size of the hips, the size of the fabric, and the legs in order to have a quality reference point and to be able to apply the technique of angles properly. Let's start from the hips because this area contains the mantle and the legs. All these elements will be small points of reference to build the forms properly. If we can do this part correctly, we will save a lot of work for later. Remember that you can make mistakes. This is the time to do it. If you are going to put this experience into practice, you must be willing to make mistakes and try again and again. This is the genuine process by which painters who work with oil began to make their paintings. First, a dramming is made with graphite or charcoal, and then the layers of oil are applied. And observe how I'm applying the technique of angles in its most basic expression, the first thing we saw in the first volume, put into practice to do a much more sophisticated and fine work. This time, I'm going to skip the stool. We're going to draw the body. It's the only thing that matters for this work. Remember that you can make many lines. Our mind will choose the final lines as we advance in the drowning. It's important to make many lines that we can correctly apply the technique and. It's important to take into account that since we are going to work with dry pastols later, we cannot add too much graphite on the vapor. The graphite itself prevents that past shock from addering to the paper. Therefore, we must make smooth lines and an illuminated great scale to avoid problems later. In the case, oil is quite different because it's a liquid that covers the graphite particles. As for the shape of the mantle, we have to learn to interpret the cloth. The shape of the cloth doesn't have to be exact to the one we are seeing, simply that it's approximate, and it will look real enough. Neither people nor we will focus our attention on it being the same as the fabric of the model, it's very different from portraying a face. In this case, we are going to get quite close to the shape we are seen, but always having a creative point of view on the final visual effect. Always remember to relate the size of the elements of the body to find the apropd proportions. For example, how many arms will fit between arm and leg distance? How many arms will fit in the width of the fabric. Today, we will not only be able to build a good drawing but also to enjoy the construction process. Remember that from time to time, we can stop and observe drawing. It's important to observe very well what we are doing. For instance, here you can see that the width of the hips is not completely similar to that of the model. So we can correct it in the back to approximate real size. The curvature of the fabric on the back should generate the perspective and depth of the drawing. You have to pay attention to these lines to cause the proper effect. Perfect. We already have the outline and general shape of the mantle and torso. They are the center of the drawing, I believe, we can continue correcting their shape as we progress, but it's a great reference point to build the rest of the drawing. Remember that we are applying the knowledge that we have already seen so far in the other volume. But even if this is your first time, just pay attention very well to the relationship of the shape of the body parts. From now, we are going to move on to the next class where we are going to build the rest of the parts of the body. 12. Construction of face and hands.: And We will now move on to the construction of the phase. And what is the most important? More important than capturing the original shape of the model itself in the Baroque, it was even more important to capture the spreadion of the model. Because a story had to be told. If you can notice the face of model, there is a certain expression of protection as if you were seeing something that could be a threat, then that is our character, the protector. Let's imagine someone who has noticed that a great danger is approaching and is seeing it in the distance. Let's take a good look at the face of our model for a few seconds, and let's reflect on his shapes and lines. We are going to use the chest to build the correct head shape. If we already have the upper part of the chest, correct or constructed, this reference point is of a high quality. Therefore, it will help us to know the exact position of the chin and neck. Look at the triangle that is formed in the visibal part of the chest. The more triangles we see, the more tools we will have to build the drawing. If we draw lines that touch different parts of the face, we can see not only the inclination of the face, but where the characteristics of the face itself are with respect to that line. It's also a great tool to relate distances. Mm. General lines, the eyes should be positioned on the same line. However, it's evident that due to the angle at which we are looking at the face, this line will become a curve because it must adapt to the spherical shape of the head. Let's see this example. Here we have these eyes, and they should be aligned with a general line that joins them, for instance. This can happen, and in fact, we saw it in the portrait volume, but it's not a constant. This line will not always pass perfectly through both eyes. Sometimes depending on the individual shape of the model's eyes, this could change, actually, because the eyes could be almond shaped upwards sometimes on a little dropping downwards as in the case of people, for instance. It will not only depend on the individual characteristics of the person, but on the expression itself. On the other hand, this happens exactly the same with the position of the mouth. Many theorists will tell you that the line of the mouth is exactly the same line of the eyes. This is sometimes absolutely wrong because most of us have one side of the mouth positionate slightly up or down. The reason these theories exist is because at the time of the Renaissance, the industrialization process was beginning and it was necessary to find a theory that will help painters to quickly build faces, to reproduce them quickly. That is the reason what most of the faces of angels and people in the renaissance look alike. In Baroque, this begins to change because more real faces began to be portrayed with real defects and expressions. Here you can see much better the spherical line in which the eyes are positioned. Hair can also help us a lot to understand the shape of the head, especially the areas where hair makes contact with the face. One of the elements of the face that help us express the emotion of concern or alertness is the forehead. The frowning forehead is basic to express this emotion. Learning to recognize it will allow us to draw it correctly between the eyes. Even playing with it to exaggerate expression is a great skill that we can gain as we draw one drawing after another. This must be taken into account when we are going to apply the pastel shock. In the forehead, there are muscles that stand out when we have that expression of concern, and it's also evident that each expression is different in each model. Caravaggio drew hundreds of models and people during his life, allowing him to have a backup of information in his mind to use in his creative work. Remember that this is a sketch. The final shape will be made with pastel shock. We will continue to see our model to get closer to the final shape. Since we have an idea of the face, how can be sure that the head is the right size? We can see how many heads fit between the distance between the head and the hips, for instance. Now, we are going to move on to the shape of the hand, but we are going to concentrate on the general shape, not the shadows, just the general shape to build its correct size with respect to the arm. Let's look at the hand for a few seconds to capture its shape. The other hand is very important, too. We can use the general geometric figure that outlines the hand to determine its real shape. Remember, the perspective must be felt that is the finger that is farther away, must be seen to be smaller than the closest one. To determine the size of the foot, we can use as a reference the distance between the mantle and the heel. Observing that distance well, we can build the proportions properly. Remember that in the case of the feet, the general size and the sensation that we see in the distance is more important than concentrating on the details of the little toes. We will go to the next class to continue giving details. 13. Shading scheme, details and beginning of color.: Okay, let's start marking the shadows. We have to try not to reach the maximum level of darkness in the strongest shadows. As I told you before, we are going to work with pastel Shalklota and it can cause us problems. However, this doesn't mean that we cannot have a good gray gradient. Remember the hatching of the drone. When you have mastered the technique enough, you can do the hatching in different directions. However, depending on your taste, you could continue doing it in one direction. Note the amount of great tones that I'm doing on the face. We must use these tones as a guide to work on later. We must make as many details as possible to fix above all, the expression of the face. We must be sure in the drawing of what will be the final expression of a character. Although it seems damn pressing hard on the pencil, it's not. It's the great effect that causes that sensation. Perfect. We're ready then to start applying the color. What should we do then? We're going to take a good look at our model and clearly understand the illumination in the illuminated areas themselves. Where does the light come from? We can notice that the light comes from left to right, illuminating the shoulder area, legs, the back of the mantle. This is more important than you think because it will allow us to correctly distribute the pastel on the canvas. Secondly, we must choose a base color because pastel chalk works very much like oil painting. What do I mean? Oil painting works in layers. There is a base layer that is then mixed with other layers in order to have the specific color that we need. The pastel works the same. It's very small pigments allow you to mix colors in a very similar way with the difference that it's not liquid. But why work with pastel? The particularity of pastel is that it's difficult to make very small details due to the characteristics of the bars and pencils. Therefore, our drawing and decisions must be exact and precise to have great results. So what are we going to do? First of all, choose a color for the illuminated parts. We're going to apply this color only in the illuminated parts without touching the shade parts of the drawing. Can apply it in the shaded part, but in a very, very soft way. But I don't recommend it because unlike graphite or black and white drawing, the different shades of light and shadow in the color of drawing have different colors. That is the color of shadows is not the darkest version of the light areas. That is the difference with the previous exercise of Dortea portrait. Here we are genuinely with color. Therefore, those shadows that are generated on the face have a completely different color. After applying the color of the illuminated areas, we will apply another one for the shadows. Notice here how what I mentioned before happens. I am choosing different colors for different types of shadows on the forehead. This range can even be creative. Of course, you have to have an aesthetic sense, a good mix of colors in a certain logic, but you can use creativity and generate a completely real feeling. In the case of Carvaggio, he didn't always use light color for the skin. Sometimes the lighting generated a projection of multiple colors on the skin, whose ft could only be represented with different colors. We must take into account, above all, that we can choose the most illuminated point of all on the skin where light hits directly. We can use that color of the paper to represent that intensity of light. But I recommend that unless there is no object more illuminated than the skin in the composition, we never get to the color of the paper. Let's reserve the color of the paper for the brightest areas of the entire drawing. Be careful with your hand. Don't rest your hand on the paper because you can spoil the drawing with your wrong hand. Unlike the graphite, Shalk doesn't adhere as strongly to paper. So touching the paper can destroy your work. Try to use something to support the arm. In the Baroque, they use a tool called tanto to support the arm while painting. Oh Notice how I apply the color without adding details, simply identifying each shadow with specific color in a bluer version of the drawing in general. As we add more definition, this will change and the details will appear. We must have a general vision of the color range to understand the language of franes that we are doing. Remember that we are making an exclusive range of work for the specific colors that we have chosen. For example, understand that the color I am seeing here is more or less similar to what we find in this other place. Once we already have an area of defined ranges, we can start applying the details. To chip this, we can use the color white, the color white to generate a better sensation and mix between each of these colors. Not only the white color, but the eraser itself can be a great tool to achieve this goal. The eraser can help us remove the excesses and even get clarity to any part. The eraser can also raise the shock. However, depending on the paper, we must use a soft eraser in case we want to erase without damaging the paper. Also mix the colors with the blender so that the transitions are professional and real. It's likely that that's first. We think they are sports or stains. But once we have generated the correct transitions, we'll be able to see the skin. Look how the texture and surface of skin on the back is generated. We will continue working on this later, but we can now move on to the next class where we will apply color to the face and hair. 14. Color: face, legs, and hair: We're going to continue blending the colors that we apply to the face last class. You have to be very patient in this process. It's much slower than working with graphite. Remember that you must apply a specific color for each tone. It's the only way to generate the visual effect of the different skin tones. Notice how I use as a reference, the way to apply the shock on the arm to give the color to the face. Let's see the details. The darkest areas are a kind of red colour, the lightest, the cream color, and the intermedd tone is a kind of gray or blue. This mix of colors only makes sense because it's applied correctly and creates the visual effect for us. This happens because we must have the sensitivity to capture the different colors within the same color in order to identify them and represent them correctly. Later, we will add another layer of color to add more depth. I Look how our skin looks already. Notice how they are apparently different colors from the model, but the relationship between the colors is what makes them look similar, but from a more interesting point of view. This is the magic of color. Reference points are a way of making art. In the same way we use them to build shapes. We can use them to create color. This is the secret of visual language. The first thing we are going to do to find the color of the hair is to choose within the drawing a reference points of light, a color that can match the shades and tones of the hair. For instance, we can see the colors that we have used to build the light color of the back, the illuminated part of the back. The idea is that the range that we use throughout the drawing has a logical relationship, and that it allow us to create an aesthetic atmosphere within the drawing. In a certain way, it's the same procedure to build the rest of the body parts. But in the hair, we're going to add a base color that can be that light color and then add the rest of the shadows as we progress into drawing. A very important advice when using hard and soft shock pastels is that to fill large spaces, it's better to use the soft one for two main reasons. First, it will be much faster, and second, we will damage the paper much less. The hard pastel shock in pencils, scratches the paper much more, creating grooves on it. Another important reason is that it's very annoying to have to sharpen the pencil all the time. The tip breaks easily, and they also wear out much faster. Let's try to use the pastel shall pencils for the small details. Something important to keep in mind in the hair is that you have to feel your reading of the movement and the shape of the hair. Actually, in the distance, it's difficult to perceive the specific shape of the hair. But if we get closer to the model, we can see in detail how the hair moves, and that movement and shape, we can portray more easily. Hair works a lot like fabric. It doesn't have to be exactly the same. Simply by portraying the type of hair and hairstyle correctly, we will achieve a good result. Remember that you must do each strand of hair one by one. In the case of pastel pencils, we must have a lot of patients and sharpen the tip of the pencils carefully to preserve the sharpness of the tip as long as possible. The eraser pencil is also very useful in these cases because it allow us to remove the shock in the same way as if it work or fights. Notice how incredible the sensation felt in the hair. It's as if you could put your hand through the hair. While we make smaller details in the hair, it will look much better. The hair strands should not only be in the light parts, but also in the dark parts. It's vital to do so to cause the correct visual effect. We are going to continue adding details to it as we progress into drawing. For now, we're going to move on to the next class where we will address the colors and shade of the mantle. Yes 15. Color: The Mantle: We are going to work on the mantle in the same way as we did in skin. We're going to choose one ton for the light parts, and another for the dark parts. We're going to cover the high contrast. Just those two parts without paying too much attention to the details for now. In the case of fabrics, it's much easier to work with than skin because the fabric is made up of lines. These lines mark the difference between one ton and another in most cases. This doesn't happen on the skin. The gradient is much more complicated. On the other hand, fabrics are very important in the Baroque because the painters took advantage of how incredible they look in painting to give their work extra value and take it to the next level. See how just by adding the tones were talon, without even adding the details, we can get a really good feel for the mantle. Even after the Baroque, many painters appreciated this effect of creating stains that build up entire paintings in the distance. This is part of the magic of drawing and painting. Pay attention to this detail that is extremely important. The shadow generated by the mantle on the leg has a specific color that comes from the color of the mantle itself. In the same way, the color of the skin is reflected in the part of the mantle that is closest to the leg. This is the secret of light. It's there where we understand that there are thousands of colors in things that we believe only have one. Here, we can see the image up close to notice this effect of the skin reflection on the fabric. We are going to give more details to the mantle and build the three dimensional effect that we want. Notice the usefulness of this blue color that I'm adding here. The illuminated areas of the fabric cannot be the same as the illuminated areas of the skin. Therefore, we must use different colors, interpret the lights of the fabric of the mantle differently. Obviously, the mantle is of another color and texture. If we see the gray color of the mantle, which is, in fact, a color between gray and green, we can understand why blue is appropriate, is suitable in this case. The blue tone is within the gray tones. It's gray with green. Therefore, representing the light with this color is more than convenient. Notice now how you can even detect what kind of fabric it is a velvet. There is no strong shin on the surface of the fabric. The outline of colors is appropriate, is suitable and has very real effects on the drawing. This should be practiced a lot with many types of fabrics to get used to each style of material. Perspective is also very important on the mantle. Filling the depths of the forts, filling every real groove is part of the strategy that makes the pattern really good. We will keep moving to the next class to go over more details. 16. Color: Preparing the background and details: We have already advanced of drawing, the body, the partial tone of the skin, the mantle, the face. I have added other creative elements for you to which we are also going to fill with color. The reason for these elements is to tell a story through this character. Remember that this work is inspired by caravaco. You can see that I have turned this character into an angel, and that there is a child levitating in the air. Like a holy angel, we are going to finish making the wings. Notice the details of each feather and the wings as a whole, as well as each of the background details. Thank you. Something important to take into account to create dark background is to pay attention to the amount of basil shock that we are applying. It's not enough to add a single layer of shock. It's necessary to add several layers to cover all the grooves of the paper in the shock when it makes contact with the paper. It's very important for the background to look consistent in one color. Of course, depending on the style of the drawing, the hatching can be more or less noticeable. But in general, we must mix and add as many layers as necessary to cheap the mate color. In the same way, if we are using several colors, we can add the darkest color s and then take that color to the tone of the color that we will add later. We are now going to work this fabric in motion. Notice from now on how unlike fabrics we made before, the colour transitions are elongated with long lines to capture that this fabric is spinning or floating in the air. Notice how we are advancing in our fabric. Notice that I am doing the same as in the mental. First, adding the general tones, and then I will proceed to details later. Note that the perspective is also seen in the part of the fabric that crosses behind our character. The most important thing is that we can already feel the drawing alive, a story beginning to be told within the drawing. And that is more important than portraying reality itself. It's what I have learned all my life from the master of the Baroque and what motivates me to teach them to you at this time. Regarding the background, is that Es color is not uniform. That is, it's not completely black. There are different tones playing with dark tones in order to highlight the elements there are in the composition. Notice that the direction of light is also shown in the background. The left side seems lighter than the right side. And also in different areas, it's darker and lighter to highlight certain parts and to generate the visual effect of depth in the composition. You can even feel the three dimensionality of all the elements much more just by adding the background correctly. Observe, in this case, the detail of the fabric traveling towards the background. The only way to do this effect is that the rest of the background into drawing is not so dark. This creates the feeling that the greatest darkness is in that deep place where the fabric is hidden. The background also allow us to find out if the shadows we had applied to the body are correct. Notice the shadow of the back leg. That color represents the shadow generated in that place. Therefore, if we go a little higher on the torso and see the abdomen, we realize that more darkness is needed in that place to match with the correct shadow. The same goes for the hands and the arm. This is the reason why as we progress in the totality of our work, we can modify and improve the colors with intention of making it look better integrated. The same thing happens with the face. The right side of the face should also be darker to match the lighting of the place. When we have already improved all those details, then we will be able to approach the color of the baby with much greater precision and an incredible reference point because we will already know what the correct lighting is for the place where the child is floating. My yes. This yellow I'm adding to the skin allows me to create a better three dimensional effect. If the lighting of the place is not so light, the skin itself doesn't have to look so light. Even the skin of the model itself is not so light, and this help us to represent it with more three dimensionality. If we use the eraser pencil, we can generate areas that are more white in color and thus be able to represent those total brightness produced by the reflection of direct light. Oh Look at how the lighting already looks in the body. Notice how incredible the hand looks under the fabric. The effect in the distance is quite good because the blue color reflected by the fabric is projected onto the hand itself. I think it's time to build this mysterious boy to know the secret of our history. I'll see you in the next class. 17. Shading the baby: S If we see closely at the child's body, we can see that it's very similar to that of an adult with the only difference being that the amount of body fat is more evident. If we forget at least the size of the head in relation to the body, it's as if he were an adult person with excess weight. What are those parts where fat accumulates? Well, we can see that under the legs, for example, in the abdomen and especially in the lower back, under the arms, and this is what happens in the child. Look at everything that happens in his extremities and in his back. In the back, there is no arc, and in the part of the legs and buttocks, there is also obviously more fat. This exercise is very important because it's the same exercise for the adult body. Obviously, the size of the head is much larger. In general, the size of the child's body is four to five heads. However, remember that each body has a particularity. Sometimes in the Baroque, the painters made children with more adult bodies, but keeping the angelic faces to give a specific message. Generally, the heads of babies are much more spherical than those of adults. It's evident that it's also due to fat. But in any of the cases, it's important to know these details to portray the child with greater precision or as in the case of this work, to build it from the imagination. I'm going to try to feel the shape of the body to trace the possible shadows that go on legs. To build a hand, we can use our own hand as a reference. We see the position in which the child is, and we try to represent it by adding a little more fat. We already have a first outline of the child's shadows. This outline is the result of the general light structure of the entire drawing. That is very important. It's a common mistake in both painters and draftsmen. In many cases, painters add characters to the same painting, and these characters have different lighting. This doesn't make any sense because it's the same light that must be projected on all characters that are within the work. In this painting, the light comes from left to right. Therefore, the child must also have the same light and not only that, but the light must hit the main character more strongly than the child because this main character is closer of light than the child. Now look at how we can see the gradient of graphite in the child. This is a good example to notice how clear the drawing is prior to a painting. Notice that the dark parts of the drawing are not too dark precisely so that we can later fill the drawing with chalk. It's a great reference to choose which are those possible colours that will represent shadows on the child's body. We will continue working on this child in the next class. 18. Color: The baby: We are going to dress the the color of the child's skin. We have to start from the fact that his color is going to be a little lighter than that of the other character. However, we can use the same adult character to have a reference point of how it could be that skin of the child. For instance, if we focus on the lightest areas of our adult angle, we could have more or less a reference of what lighter skin could look like. There are several illuminated areas that we can use as a reference. We have very well mapped the shadows in the child. It's just how you should do it before creating an oil painting, especially in large formats. Let's pay attention to those illuminated areas with the white color of the paper. Those are going to be the areas where the lightest skin tone will be. Notice how after applying that yellow color, I start to change the tone of the skin with other colors like dark brown and white. This exercise of fixing colors using basil shock is an extraordinary approach to oil painting. I must confess to you at an early age, although I loved painting, I hated the feeling of oil on my hands and it smell. Especially after long hours working on the farm. Once I tried the basil shocks, I lost my fear and everything, and I ended up falling in love with paintings forever, too. I don't know if you have noticed that I'm using a pencil extender. I had already mentioned to you that it takes days for a courier to get here on horseback. I need this extender so I can extend the life of my pencils as long as possible. This particular one I ordered from a great Northern firm owned by the honorable Sir Amazon. Notice how the light that is projected on the fabric is also projected on the child's back. This is important to give an organic sense to the drawing. Light always contains color because generally what hits objects is the reflection of flight, which comes from object. On the other hand, this child lacks a detail, a detail that will tell us something about him. The true fallen angel is this child, and we must add a distinctive element that identifies him as such. Remember that the most important thing is to tell something through drawing. The reason why this other angel is saving this newborn demon is because the child is not guilty of being born like this. The child was the result of an unholy relationship between an angel and a beautiful demon woman. Perhaps this adult angel is the father of the child. We will never know. The only thing we know is that some wardens of heaven threw the child from heaven and this baby is falling towards hell, and this protective angel is trying to save him. Now, we are going to use as a reference all the work we have done on the body to apply the color to the face. We already have the tone of the light areas and the dark areas also with the lighting of the fabric. We should not fail. The reason why I always start with the body is because we must be precise in the construction of the character's faces. The color itself is nothing without studio light. We must experiment and master the black and white gradient. A good pencil drawing is the result of that ability to capture the different colors around us. And there it is. We could continue to work on the quality of the upper wing and the fabric above so that they look like their counterparts below. But it doesn't matter. Our body work is good enough to understand our study of the body and fabrics. This work is the fallen angel, and I hope you have enjoyed it a lot.