Okay, we're gonna jump in and do a little quick demo here. The first thing we need to do is analyze the model. Now, hopefully, you've listened to the lectures in the first module about learning how to see. And so you'll kind of recognize this, I think that on the right, we have our eyes wide open, we can see all the value range. On the left is a heavy squint. And it separates out the light and dark puzzle pieces very, very clearly to one single source lighting, which is the best to show the form.
If we open up our eyes a little bit more, we get two values in the darks and two values in the light. It's a four value system. And that's what we're going to go for. So our first job is to do that initial 2d analysis, and then also to just look at the reference or the model and just squint down and compare what's happening. Right before we jump in all excited, let's just slow down and see what's going on here. So seems to me this model, the way it's lit is maybe 60%, dark and 40% light, or maybe 7030.
And I'm looking at the shadow shapes and the light shapes. So I'm going to really edit this thing down into a very low resolution idea, just to get it on the page. So that's my job. Right? So we've got the right the four values. Right, we got black, we got white, and then we have a step.
Two steps in between of equal jump. And that gives us two values in the light and two values in the darkest family of light family of darks. Let's keep it like that. I'm going to give myself the key just 50% right. That'll keep my values organized and in control. So that's my main things is to keep in control of this.
And I want to look like a bad Xerox does and analyze the light and dark information, the value contrast. So my first thing after that is to space and place the elements. Right, so I'm going to try and get the proportion of everything with the eyes or center eyebrows, so it's the average angles right the angle of the gaze from top of the forehead to the chin, find that angle and find the angle of the eyes. Right? It's a little bit off center, it's not completely horizontal. Want to make a note of that.
And then the eyebrows are just a little bit above the eyes in between the chin halfway and the eyebrow line is the nose generally on average, right. So let's go ahead and make a note of that pathway on the angle of the chin and where it makes that direction change the angle up the cheek on the far side Got a very Angular face, which helps. And then the cut in on the break in the eye socket to the eyebrow, and then to the forehead. Kind of hard to see in the back there, but I'm just gonna guess I can, I can look at the widest part from that cheek on the left side, all the way to the farthest side of where her hair is. And just make a guess. There I can measure the height to the width.
And I can do that on the model as well. I can kind of get a rough estimate. So I'm going to go general to specific, big to small, right? As if I'm 20 feet away from the person I can see as the overall big impression. That's what I'm about. For so let's see where I'm going to space in place that knows keep it real simple kind of like a prism or number two, right number two there is put that in course it's just a tool to help me get it there.
It's not a number two but and then between from the bottom of the nose to bottom of the chin halfway, generally on average will be the split of the lips. And if I place the eyes if I can kind of get a sense of when the eyes are the eyeballs right. Those up When helps there's tier two tier doctors one eye with the fine get the idea where the tear duct is. I can put the eyeball in there. Then I drop a plumb line down at the angle of the models gaze, I can find, you know, generally on average, where the end of the mouth is going to be on both sides. And if I extend it down all the way, that'll give me where the chin fits in to the job, basically.
So that's a really important landmark. Some of them really stay, stay in that block in phase. So you're gonna find you have tendencies. tendencies to, that you have to look out for but you have to kind of fix it might be making the nose too small or might be making the eyes too close together something, whatever it is, you'll start to, to know your weak points. And that's why we practice to find our weak points. And then at least know that they're there and avoid those traps.
All right. I want to jump in I see details. So I want to squint, simplify, compare back and forth, squint at the model. squint at my drawing and look at this light puzzle piece on that cheap right side to see its width to height. We're always asking myself How tall is that? thing, How wide is it?
How tall is it compared to something else I'm always relating one thing to the next. And it just sometimes look so ugly, right? But anyway want to jump in and make it look pretty, but I'm not going to do that. I think this hair is gonna be closer. It's gonna curve down and I'm going to look at that triangle right in here of that light piece. If I can see it, that I can look at the dark puzzle pieces and draw that see if I can see that.
Draw what you can, what you can see and what you know. This is like putting in the plumbing. So, if you do this stage, you know well, then your drawing will be on a firm footing Can't you no target mess it up. If you get it wrong at this stage, there's no saving. You can put all kinds of frosting on top but you'll never be able to save it without ripping the piping out taking the walls out, you know it's going to be some major work to bang it back into shape. So we want to try and do the hard work now.
That way we don't have to suffer later. Let's move this chin to slightly up. always room for refining want to move Try to gauge that distance from the far cheek and the end edge of the job going up to the year. It's probably in pretty good right there. It's a pretty Angular bone structure. And let's see, what's this puzzle piece.
On the back. She's backlit, she's got a rim light, a kicker, as they call it, photography. And so sculpt out this cheek into the rhythm of mouth. Even going into the bottom of the rhythm of the mouth. I could find the chin. Let's put the neck in.
We don't want to forget the neck. People always forget the neck and it's You know, cuz the big mistake that the angle of the shoulder, the back muscle, the neck, everything's connected. Check that not be perfect, right? It's low resolution. This is the fun time when you can be a little bit loose, right? I mean, you're 20 feet away.
All you can see is the overall impression of the person. You can't see in details but you know, it's them because the silhouette is so powerful our brain can recognize In the web's it's a slow add recognizing machine. Let's see, where's this philtrum gonna be? And then the lips still wondering where that it's gonna be maybe it's their, the field. All right. I'm gonna, I'm gonna do I've got this dark on her forehead.
I think I'll bring it into the darks. So I squint down, all this stuff just goes into dark. Right So after I get my 2d puzzle pieces, and then I start to fill in again with a flat kind of a key like that. No, I don't want to go any darker than that. Because things will start to lose control them. values if I do take a sip of water.
So I don't want to lose control of my values right now I just want to stay. Stay calm, stay in control, if at all possible. What's the shape of this eyebrow here? That gives me that shape now of the light puzzle piece next to it. I kind of see if that's right. And then I can wrap the eyelids around the eyeball.
Start to think a little bit like a sculptor here. Pull that 3d architecture out. Now that lower limbs can come around the bottom of the eyeball. Got the shadow that lower this and this can put that shape in a little triangle here and then you've got the eyeball in there somewhere. That's just all almost all the shadow shadow pair. Cut this shorter that's work on the, on the close side the tear duct to the upper lid Super orbital orbital bound right super meaning above just think of pulling that pilot over the top.
Still, I'm still in that block and faith really goes into dark they're just squeaked down the tear duct thinking it's like a porpoise shape right here. You can use anything that helps you to recognize the shapes. Don't think of them as pupil eyeball eyelashes right? in detail, think of them as pure light and dark shapes. And how wide are they How high are they? Is it around thing is it a square thing is a triangle thing, very simple stuff.
Little triangle piece right in here, just below the eyebrow on that super orbital bone and then just go through the shadow right there. Go ahead and put that in. So once I get this thing posterized and flattened out, I can look at the design. See if everything is spaced and placed in proportion well and then I can start to design each section from the big to the smaller refining facet. Right, so forcing myself to squint at the models with my drawing, cut that shape onto there. And just really kind of this phase is it's that 2d analysis that you have to do it.
And so it's it's kind of a translation phase. It's somewhat of a copying translation phase. Right? But it's one of the tools available to you to get your foot inside the door of drawing. Get it going, cuz it's pretty complex. But if you can stay like that dump Xerox, you should be okay.
See we got a sliver of light here. Let's put that neck in just to make sense of things. When it's connected, the heads connected to a neck it looks way better. It's not doesn't float. Right. So let's flatten that out.
See, separate the dark from the light. See how that goes. It's very soft in there. But my ball, you know, I could almost all put this in the dark. See, I see a lot over there. I can put that in.
Just thinking really simple terms. So far, so good. I'm going to go ahead and hit the very tight, hard edged part of that lower lid and then everything just goes into shadow. So beautiful. So subtle, but really, there's just about five or six things you need to know about, about how light creates the form and how. how we interpret that in our eyes, this form and then and it's somewhat easy.
Okay, this data that let's stay in the blocking. So, let's look at the nose here. It's tight in our facial groove right there. The wing of the nose. Like it's the circle, circle. Got the saw that cartilage of the nose Notice not that smooth.
Alright, so let's fill it in. Find the puzzle pieces filament. Now you find the puzzle pieces, you can hire someone just to fill them in for you. Anybody can do that. So you've got this sort of copying phase looking at the 2d puzzle pieces and then your job after that is to make it better to embellish it. But you can't embellish it until you got something on the page, you know.
Go here and look for where the end That far side that kind of fades out there's almost nothing there. Go ahead and put that highlighted. Click that softbox they've got fighting hers is not an octagon but it's a rectangle rectangular like they're lighting her up and then the curve on the our lead is really pronounced because it's in perspective, and it's foreshortened. So the more foreshortened things are, the more exaggerated the current. The shape of the upper lid casting shadow so we're seeing the underside of that upper lid. Filling the shape unless the lacrimal right there, lower part of the orbit of the high.
That's a tricky, tricky place. Just keep it simple and look at the shapes Very simple shapes you'll be okay. Let's find the front plane of the mouth. Just kind of cut through those little peaks on the upper left, kind of keep the ball right there. Let's call it just kind of that in for Tell me I've got it in the right place. We've got the terminus of the lips on the park par side, lower lip, fits into the upper lip so that comes out that overlaps the upper lip on the far side.
It's pretty full lips here. And then there's the typical. I'll teach you that later. Sometimes anatomy comes in handy. Sometimes you don't need it. So sometimes when you can't see things, you can use your anatomy to help you out.
Right like in the dark areas, but in the dark areas in the shadow. You don't want hard edges and contrast. That's why they're shadows that kind of fuzzy and you can't see anything in there so you keep it fuzzy. That makes a shadow look like a shadow. upper lip overlaps the lower lip so that our lips can be coming out and there's a little light shape right there. I'm going to put that in.
I want to miss that. That's important. Find that shadow shape under the lower lip, a plane, they're casting a shadow causing a little depression right there because of the depression. That plane goes in away from the light and then comes out from the chin right? comes into the light cancelling out like that. So let's clarify Let's clean up a little bit of this.
I like drawings that you can see how it's built up. It's like it looks authentic. It's got lines and it's got depth that way so I don't don't take everything out on super clean every everything all the time. You know, I can get away with it. cleanup where I have to and then lead the process in which got the little barrel amount that bump there it's pretty subtle the Keystone hair Suisse commonly referred to this super ciliary arch areas Keystone and just very subtly, slopes away from the light and then back out to the nose so beautiful here with that nasal bone Okay, still need to stay out of the details. Let's look squint down and look what happens here in the upper lip.
So really hard as you can look at the edges and the shapes and just crisp them up when I need to. Thanks. You know, a big mistake that beginner students make. I see all the time is that the line quality throughout the pieces the same everywhere that has a certain look. And then when you start to control your your line quality your fix and thins right, your Chisel Hard thing lines and then your wispy lines that can go into just nothing is that's what really gives a drawing interest because it's that variety that visual Friday that creates the interest And it's something you learned over time. So it's just disappears right here in the middle of that upper left and then defined again.
So let's go ahead and fill in this shape and see if the width of the lower lip comes into focus here. Okay, so, right here I got this big puzzle piece. And I'm just going to go the same direction with the flat part of my pencil. And it keeps it It helps me just to see the shape if it's noisy, and I'm cross hatching, and it has blotchy darks and lights and I won't be able to see my design. And I'll be focused on that rather than, you know the thing that I want you to focus on. Namely this beautiful woman, a model.
Okay? So I can kind of get a sense of how we're doing here. Stop in a fat and bring it. This is where that nasal passages so the rhythm of the nose comes out just a little bit bumps out and it hits the cheek. It's very subtle, very tricky area right here where the plane of the nose meets the plane of chance, whereas it you know, up just a little bit and then I'm gonna swing down the bottom with the cheek turns away from the light so it goes in the shout out and I'll keep it in the shadows. Definitely In the shadows, why squint down gosh all the stuff that goes away, merges together.
Got the cash out the nose on the cheek and it's close to the cheek so it has a harder edge. Right? Kind of maintains its integrity here. Continuing to squint okay and then we still have this big shape of the hair so I'm gonna go ahead and put that in apologies buying charcoal buying charcoal, really stopped. It's made from burning the twigs of grapes. Great, find great plants and they just burn it until it you know turns into charcoal.
Now that shape the hair and then I'll just move my pencil, get that chisel fine, triple up brush line to it using the size of the pencil really effective See this shape it gets a little bit into the family of lights right there. This is basically a shape I can't see anything in here. So Go ahead and not put anything there. Let's see the edge boundary between the hair and forehead analysis, let it let it go to contrast where the light meets the dark look just let it fade into a shape. The shadow is the shape. It's driven by shape.
Whereas the light side is driven by structure and color if you're painting dig out that depression right there. That's pretty dark. squint down. pretty dark in here. And then it turns into just a nothing. Edge.
Cloud. Right, so here we have a little bit of a bounce light coming underneath the chin. It's still in the shadow, right? That reflected light but it's not going to get as light as the light side because then the value structure, the tonal structure will start to get very confused. The viewer will feel that they won't feel good to them. They don't want that.
This is all soft reading here. I don't want you to look in there. So I'm going to quiet that down. Do you have a bit of paper fold here. Okay. In the light side that halftone charcoal is very tricky because it gets muddy in dark real quick so it's not too forgiving in the light side.
So, you almost want to have nothing in the lights or very little. Getting a little out of hand here. So to go back and pick it out. don't want to be too too rough with it could be some strands of hair here. coming out with a part is done this way over the forehead. take that opportunity in a couple of those.
Now we can kind of in a position we can look at our edges a little bit more. Go ahead and tector I can get in here and my palm will be smearing all the charcoal Define typewriter and get some of the eyelashes I just grouped the eyelashes I don't I keep them really simple. Otherwise they start to look real fake. I just put in a few put into many of these tactic called tension and they look stuck on somewhere that eyebrow turns or the orbital bone turns under a little bit of shadow there. And that upper lid casts a shadow onto the cornea, onto the iris and the pupil. So I'm going to put a gradation there.
That's what really makes it look real is that sense of wetness, a sense that it's a glass orb, very reflective. So you've got the specular highlight. And then you've got the black of the pupil which is an amazing hole that lets the light in just that's why it's so black there. goes right back to the nerves in the back of I forget the name Right now, optical nerve. Okay, so cut that cord to create a little occlusion shadow here that happens it's really tight. Let's define this a little bit more.
Highbrow here. Keep it simple looks like a Nike swoosh shape. One Eagle wing or something. Just rock back and forth a little bit of hair there but again, not drawing hairs. Still squinting compare throughout the whole process. Use my black highlights have been holding back from using black black because black black, I reserved for those areas where it really wants you to look.
Want the viewer to look there first art directing the peace You can put it you know, in the eyes is a good place under the nose as well because that gets usually a dark shadow with hard edges. Okay, then we've got that lower layer that has and then the skin as it wraps around the lower part of the eyeball, and then it beats the cheek so it's kind of tight, right and then this just goes into right there's that plane, lower plane and the lower lip that goes back plane put in that shadow for the upper lip of determinists Going down, this lose the details of the shapes. Click the light under the nose and it comes up into the fall of the nose gets dark there. Find the shape a little boy the shadow shape will give a little sense of the nostril just like a little comma quotation mark your eye in your pan are going to get real coordinating real sensitive to, to just changes almost in like topography.
Like you're looking at changes in a map, the highs and the lows. Right registering as dark sun lights and you just can't get around. Really good at seeing that stuff. Not a lot of light gets in here so it's kind of occluded, caught an occlusion shadow. cheap clothes into the barrel of the mouth. Transition give a little halftone to the bar cheeks so that the nose kind of emerges out from there.
Get lost gets lost back in there. Even the sclera is not white, as most people think it is, it's a ball right? And it's getting the top parts getting a little bit more than the bottom part because it turns away from the light and there'll be a shadow that comes over the top plane and promote it. Then it goes into nothingness and the structure is lost. establish that core shadow idea of late holds dark, dark is holding in the far side of her cheek sockets on kind of gives it some dimension here I'm just finding Just refining, fixing refining all the time. You could just go on and on, right?
Never stop. Things get wiped away. You got to re establish them. Problems crop up. gotta fix them. squinting and comparing.
Looking back and forth from your drawing to the reference over and over again. unifying shapes when you can unifying values, family darks, keep those together. Family of lights, keep those together. That's too bright. No one is bright is the highlight the weight of it. I push that back all the shapes soft in here.
Now, that shared there, little bit of sensitive part of the hair right there. That's where the gesture of the head is on the top of the skull follows the part of the hair that in Just hinted that just fade into nothingness. Just give a sense of pushing that top of the skull back because falling away from the light a little bit. establish that front planet knows as a bottom plane separate from the front plane of the house. Yeah coming along good stuff like going out on an exploration right you never know what's gonna happen it could all fall apart your ship could be wrecked at sea but that's why we do it right we explore and then we find out we reach the shore. Cuz it's awesome stop in hard edges Let's just kind of shape this off.
We want everything to be designed. Well if we can, even if we can't finish it if we've got a good foundation, good clear, simple statements no matter where we stop, it'll look good, right? Because because we cannot understand how to build a drawing step by step. Now I'm just doing the tertiary details. I'm kind of just defining. Making sure you know everything reads everything sitting in its right place.
Shaping this I can't see it goes into nothingness. So I can treat it as just let that edge fall away into the background. So we don't notice it right? But she's she's in an environment not just stuck on the page The highlight here take out some of those construction lines so nobody knows how we did it. And then step back and just look if everything's kind of cool pull out some that rim light. That kind of light that's happening off camera right?
Can just be fuck Took out that number two. So there we go. Again, you could go on and on, right but we're gonna stop and call that a wrap. All right, we'll see you in the next video.