Alright, okay this second example is
a female figure
back view with some drapery. So I really like the drapery
and let's see what we can do here. So I'm just gonna first...
(drawing)
And I already have a metaphor in mind for this drawing.
(drawing)
I think
too I'm just kind of -
so I've got room. I thought I was gonna run out of room. Oh, a little bit.
I might redraw. What I'm gonna do is I'm gonna focus on the
torso, I'm gonna leave the bottom half abstract.
I'm gonna leave the bottom half abstract but I don't wanna forget about it.
Meaning it's gonna be this big, shadowy, dark
mess of tone, as you'll see
as it develops. I wanna put
my energy in this area.
(drawing)
And for this one I'm not going to
draw the shadow shape like I did
last time. I think that's not gonna be necessary here.
Well maybe here.
Just so I have an idea what -
yeah, okay. Because again this is exactly like painting.
(drawing)
Yeah
I'm worried if I
(drawing)
spent too much time
on the details
(drawing)
I won't have time for the little bit
of refinement that I'm gonna have to do.
(drawing)
Okay. Let's get on with it.
Flat brush out, aka
little stick. I'm just gonna block in the tone using
very crude
marks and hope for the best.
I'm kidding that I'm gonna hope for the best. I know it'll be okay.
I know it'll be okay.
(drawing)
So
if you're familiar with like Russian Academic
or Chinese Realist, which are trained
in Russian Academic
manner, this is Russian Academic style
shading, At least what I know it to be.
I haven't trained in Russia or China.
But I have studied with
(drawing)
some Chinese realist
came to America from the famous Chinese
academies and they draw
in this Russian Academic model. So already
I'm liking this look. I don't know what you guys think at home but I like this
painterly look. It feels like a statue I love it
Notice the shape, remember I said shape, look what we can see,
the read we can get right. It's already feeling like a
figure. Watch this, I'm gonna start to soften that edge
simply just by tapping and lightly glazing over that
core shadow and start to soften that edge and really do a lot of work.
So that's the power of the willow.
And if you haven't tried it I would
try and I would encourage you to try it for two reasons, one because it's fun,
two you can do these beautiful marks
and three willow's hard. It's hard. There's a learning curve, I ain't gonna lie.
I'm gonna be honest with you. So you might as well get started.
Might as well get started because that learning curve
is rough.
Even me, even I have to constantly practice with it to
get dexterity.
So actually I'm pretty happy with this - let me get this arm in there.
(drawing)
Get the -
let me try this thing.
The paper towel, see if I can get this - oh yeah, nice and
soft and ghosty. Can't try to do that
with a ballpoint pen or a graphite pencil. It's not gonna
happen.
(drawing)
And let's see if I can...
(drawing)
So you see it's going much quicker. Because on this one I decided to be more
painterly and the other one I was still thinking in charcoal pencil
mode. So now that I'm fully out of charcoal pencil mode
and willow - I mean charcoal mode -
charcoal stick mode, I'm able to
get these results faster right,
it's only been a few minutes and we're already at a pretty good point.
(drawing)
I almost wanna call this foot out.
I'm tempted to call it out.
I'm gonna leave it alone because I don't wanna spend too much time
here. I'd like to do at lest one more example.
(drawing)
And
if you have it, definitely try this
at your next live drawing session, for those of you who do go to the live drawing.
(drawing)
There's a beautiful core shadow
happening here. I'm not even gonna attempt
it with the stick, it's gonna be all suggestive.
That's another thing that the willow teaches you is to
suggest, is to learn how to
suggest - tell me this whole -
everything you learned in this series so far is really about
suggesting. We're not
taking anything
literal. We're not being too quote unquote real.
I think it means we're not being
photoreal, we're not trying to be photoreal, we're already suggesting
detail. Like I said
time and time again I think a lot of times what you leave out looks better than
what you put in.
My philosophy.
(drawing)
The tradition that I
learn here in the Southern California
is very much influenced by this Russian
model and, you know, the more
about design.
(drawing)
Okay so now we're pretty much done
so just gonna see if I can add a little
bit of detail. I dunno if I can really. The charcoal
already - yeah it's already built up, you see that.
What I can do is start to
smudge over here.
Get that beautiful half tone.
God I love, I just love how that looks
because I know painfully
if I tried to get that with another tool, it's
so painful. So that's why I really
love like charcoal, especially willow.
(drawing)
It's just too annoying to get these beautiful tones any other way.
(drawing)
I kinda lifted it off,
even the stump
has a bit of a charcoal on it, so it creates a beautiful tone
in and of itself. I'm also dragging
it over. And of course we lost it but
we can always fine it.
Combination of both bringing the -
(drawing)
bringing the stick back, getting those little back dimples
(drawing)
and then I'm gonna erase
out.
Try to suggest some of the rib detail
it's really tough, this tool is so crude.
(drawing)
I'm sure with some practice
(drawing)
we'll be able to get that no problem.
(drawing)
And I'm gonna use
this eraser to
kinda of break the edges, give me a little bit of
variety in the contour. But yeah I think
we're pretty much done with this little sketch.
This beginning of the rendering.
We called out that leg, called out
this leg. And
as you can see you know where to go from here. Just refine, refine,
add detail, add detail, draw the foot
more detail but yeah, as far as the beginning stages
this beginning rendering here is complete.
Now let's move on to the next example.
(drawing)
Hello, my name is Chris
Legaspi and welcome to this lesson on rendering
and shading. Here we're gonna focus on willow charcoal.
We're gonna be using newsprint again. This time we're gonna be using willow charcoal sticks
so it's gonna be a lot of fun. And the beautiful thing about charcoal is that it sits
on the surface of the paper, so we'll be able to move it around, we'll be able
to smudge it around and blend it really, really well to get some incredible
effects, incredible variety of edges. In this lesson I'm gonna show
you how to begin the stages of a long
finished, more polished rendering. And we're also gonna show you a couple of
ideas on how to separate your light and shadow, make that your
shapes read really well too. So with that in mind
if you're ready to get started, let's begin.