How To Draw Portraits On Toned Paper

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In this lesson, Leo will draw a portrait of a live model with the aforementioned lite and shade blueprint as in the Plaster Cast Project. This volition be the aforementioned technique that he used for drawing 3d yet objects with the merely difference that his model is going to be slightly moving.

Academies and ateliers around the world are increasingly educational activity an American realist arroyo to drawing and painting known every bit sight-size or classical realism.

Hosted past Florence Academy of Art founder Daniel Graves, this massive course is the most comprehensive breakup of the sight-size approach always produced online.

By the finish of this course, you'll exist an expert in the arroyo and be prepare to accept on Sight-Size Painting Grade, scheduled for a 2022 release.

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In this next demo, you lot'll run into me build the portrait with the same attention to the light
and shade pattern that we utilize in the plaster cast project.
That's why we are doing each of these projects and talking about the similarity betwixt them.
They are meant to requite conviction.
So when you start working with the excitement of another living breathing human who'southward ever so
slightly moving, you already have the confidence and technique from the 3D work you have done
with the plaster cast. The concepts are the aforementioned, instead though this time
I'll be working on grey paper, slowly working out my lights towards my lightest lite, and
leaving the gray paper wherever I might need it as a half-tone to help plow the
form.

What we've sort of been working up towards has been working
with the alive model throughout and having washed our cast and
Bargue projects, that sort of prepares united states for the challenges
of working with something that is three-dimensional and does
move and breathes and equally a nice person that y'all go to talk to
and interact with throughout it's kind of interesting
because it'south obviously and so difficult to keep control of your work.
And if there is an underlying
sort of ethic here, if there was one big thing that I had
repeated to me when I was a student again and again by the
teachers at the schoolhouse, it's that we're trying to develop a
manner of decision-making our process. So Johanna's going to pose for
us. She's
in a really nice pose, only it is inevitable that the chin and
shoulders and the body merely settles and swings and information technology is
through those shape recognition exercises that nosotros've been
talking near that we're able to not just draw the likeness
but likewise to tell if the model's moved a flake. This is about
becoming sensitive to nature and beingness sensitive perhaps
and a slightly different way than some other drawing
classes.
We want to be subservient to what the pose is doing and we
want to try to not just draw but design a really interesting
shape on our sail or paper
and in this case I've sort of gear up the pose with our model so
that the hair's over one shoulder. We encounter a bit of the
neckline, we see a little bit of a the collar and the position
of the face is interesting. What I want out of a good lighting
situation is that we not simply have clear shadow shapes that
nosotros've been talking virtually but we as well have a nice menstruum of
low-cal throughout and then starting at the forehead and sort of
working down through here nosotros go this overnice elegant sort of
period of calorie-free. And then the other thing that I call up is worth
mentioning is that we want to have clear highlight shapes.
What is traditional in portraiture? Excuse me, I'm
going to indicate out a couple things. And think when we're
working with a alive model, you're sort of collaborating
together, right? So I never would point something out or practise
something without sort of making sure everybody knows
we're on the same page. Notice that we accept a very clear
highlight shape in the brow and then the calorie-free runs downward
the nose and has a prissy clear pinprick of low-cal on the tip
of the nose only like in a traditional portrait. The calorie-free
on the underside of her eye there'southward just a couple niggling
hints of
of highlight in the eye, grab lights, and it'south only plenty
that we can run across
some low-cal and a nice large shape for the eye. Basically what
I'm going for is to endeavor to design a light and shade
pattern that is non entirely unlike from the bandage
drawing that we did and I hope throughout the time that we're
going to work on this that y'all will run into existent similarities in
the procedure and how this relates to the Charles Bargue
plate copies and how it relates to our bandage project.
This is a
process and not a product that we are going after. We are
going to see what happens only I think that with a overnice pose and
a very nice person to sit for you it'south always if nothing
else a lot of fun to work sight size. Then a reminder,
my position is slightly different because
we take a model in forepart of us and we want her to be effectually
eye level. Okay, information technology is traditional in portraiture that
nosotros did non await really downwardly on the model. This is going dorsum
to sort of 17th century
commission portraiture. Only sometimes that can do - look very
prissy. In general I like to put my model upwards on a model stand
so it'south somewhere most eye level. My easel is set up so
that I have
the model's head somewhere nearly the top of the newspaper and the
bottom will be somewhere near the lesser of the paper. Now
recollect the position in the camera behind me is
unlike than the position of my eye, simply you volition run into me
through out picking upward my plumb line,
lining upward where top,
lesser,
middle, where all of those line upwards and just like
in the bandage project, y'all'll see me take a width measurement
of her shoulders, carry information technology across, and I am already at this phase
even though
I haven't drawn anything still I'm already picturing where all
these shapes will proceed the page.
Now this is a nice piece of hand-stained grey paper that I
fabricated
but you lot can use whatever sort of tone paper, white paper. It
doesn't specially matter.
Actually, yous helped me make this didn't yous?
And so before nosotros get started Johanna has been posing for a while. Do
y'all want to take a quick break for a second? You're okay. And
do yous want me to put your coffee somewhere? Here.
Okay, so
I'chiliad merely going to take a few moments to brand certain that my
mental paradigm of how she looks on my folio that back and forth
I'm just going to commencement flicking my eye back and along
and make sure that I'm happy with the placement as we will
encounter information technology.
That's just going to fit nicely on the page. So I'm gonna start
with my vine charcoal.
I'm going to make a few marks from back hither.
And nosotros're going to make certain that we're happy with sort of
where I'm imagining the composition.
I'm going to accept my plumb line and just
double check
placement of these marks. One.
And then this is merely the very beginning of that same large
shape concept that we worked on throughout our last projects.
This is non
me starting to become in and piece of work on the features or even thinking
about this as a person nonetheless. I'm just placing
the head and shoulders
equally one unit together.
Tin you plough just a hair back that way? Oh, that'due south also much.
Cheers. Perfect.
Notice, I'k sort of shifting around, moving
all the fashion throughout
the head. I'k non just starting in ane surface area sort of up here,
I'm really trying to become that whole catamenia thing that I
talked about happening.
It'southward fairly important to me that I take
some sense of the overall composition before even
attempting to work on the head.
Many of y'all
may take had the experience
of starting a portrait or a drawing of any kind and it
looks pretty good just after you lot await at at information technology and just the
placement on the page is awkward.
And one of the nice things about sight size is information technology that sort
of trains you to
really consider where every part, the top, the bottom, correct
and left, where all of these elements will become placed
earlier
you do the unabridged cartoon.
This is proficient. I'thou starting to feel
like this connection will probably brand sense and I just
want to double check
the placement of the
head dorsum of the caput cheekbones.
All right, allow'south take a couple of measurements
simply to make sure we're ballpark in the correct range.
Can you move your chin upward merely a niggling fleck? Yeah, thank you.
This has to drop down.
One of the things that I love near working from the live
model is we get nosotros get a fair scrap of pick, right?
There are moments within that might brand
her appear a little larger, a footling smaller, straighter up
on the page, any happens. Can you move your optics back
over at that place, please.
Excellent
Remember one of those things I'm so concerned with is
trying to identify the T of the face up that sort of axis what I
chosen I think in the
cast, I probably mentioned that teacup of the face that it's a
petty handle we can choice it upwards. So it's not flat right?
Information technology'due south more like from here to here. Merely that center line
appears direct hither but equally nosotros motion starts to be a piffling
bit more dynamic, so I'm going to place but a clear bending
across for
that slight bending at that place.
That slight angle in that location and and then how it comes dorsum.
I'chiliad going to keep information technology soft because
all of these things are contingent
on one another.
And the $.25 of information I ordinarily apply in spotting the
features are
indeed the brow line,
commonly aligned for either the zygomatics or the bottom of the
olfactory organ. And considering the upper lip'southward so subtle I almost always
focus on the space right underneath the bottom lip, you lot
know, that's a down plane it usually appears very nighttime. So
right here, maybe underneath the nose and brow line and what
that gives me actually what I'm really just starting to depict
with that is actually the shape of the forehead like that brow
shape becomes more and more articulate throughout and
starts to requite a sense of which style the the head is pointing.
So I'm going to take a quick suspension for a moment. Give our
model a quick break just so we tin can start to -
number one I'm going to permit this settle mentally for a
minute, come up back to the design and make sure that I'k actually
happy.
I have a lot of compositional questions. Would information technology be ameliorate
if the hair goes behind or in front of the cheekbone? How much
of this side of the head I should run across.
Merely as a general sort of flowing shap. I'm pretty
pretty delight with that overall. Let's take - yous okay
taking five minutes? Okay, nosotros're going to have v minutes.
And I want to merely await at this for a cartoon as a drawing for
a second without the model next to information technology. And so possibly when we
come back, I'll decide whether the placement is adept. This is
sort of that situation looks nice with you looking downwardly that
manner too.
Okay, and so let's take a pause for a infinitesimal.

Transcription not bachelor.

Now we have limited time, right, Johanna is being really nice and sitting for u.s.a. but we we
don't have all the time in the world.
It'due south based on these little 25 minute jumps and this is ane of the reasons why
I've been talking about this concept of working responsibly throughout the other projects to not just
blitz ahead at every bit fast every bit speed as you tin can muster only to try to develop
it all equally a whole at every individual stage of the drawing and then that we don't
have to become huge steps back over and over once more.
So the pacing that we've been talking nigh and taking breaks and using your fresh eyes
all really to fix y'all upwardly for this and this experience of working with a live
model. And then we've prepare a timer and so nosotros know - so I don't take to worry about
when brakes are. We're working to correct the pose or not - shift back this way, wonderful and if
you turned ever then slightly towards me.
And mentum up a bit
please. Okay, this is overnice.
I'm getting a completely unlike design - just a fiddling scrap more inclination.
And slightly more turn this fashion.
And then each time she gets up
we're seeing some things differently. Correct now
I'thousand getting a piffling bit of that far earring over in that location.
So I'm only going to make a tiny mark of where that is correct now to
remind me for afterward. Too her shirt collars come up down and I'yard seeing much more than
of this cast shadow on her cervix. I have the sort of cage
of Johanna'due south face a little scrap too wide from here to here.
And then I get-go pushing that in
just a little. Raise your chin just a petty scrap.
And your eyes are a little bit farther down.
Now that I have her basically in the pose that I have intended
I simply flipped my eye back and forth betwixt the ii as as apace equally I
tin, just really right left, correct left.
Tracking my eye back and forth
and I see what jumps out at me.
I look at the overall shape of
the centre socket. Of grade every time she gets upwardly there
the hair is going to be slightly different
And as the humidity changes, that will bear on it besides. But what I'm ever trying to look at is
the human relationship between the chin and the back of the caput and even though she's in
this mostly from frontal three quarter position,
you really do get a sense of of her cranium back there and I want to
brand certain that I have enough sense to the back of the head,
even though most of what I'yard cartoon is upwardly here.
It'due south that relationship between the two that volition give a sense of presence to the
overall sense of the skull underneath the form too is helpful.
Over again going back to what I said before
I recollect a lot of people make the fault
of simply focusing on the face.
Soften it from fourth dimension to time, become over our points again.
In that location nosotros go. That's feeling much better in terms of the big shape.
That sort of - yeah. Alright I'chiliad gonna take out my mirror for a moment.
And I really desire to use the mirror to check out the blueprint of low-cal and dark
that I'chiliad setting up. Feels similar I have her
cheekbone, her right cheek bone the one that'south on our left slightly likewise far out.
Go some sense of the overlap of the trapezius there. Just like the castI'1000 periodically going in
and sharpening up these shadows, Trying to build class.
Bring the corners of her mouth downwards.
And her lips are a picayune thin
I'g trying to make a niggling fuller, she has pretty total lips.
Just adding enough value throughout the shoulders,
shadows, pilus, only to aid usa see that separation of light and dark.
Unify information technology. Turn only back that way a touch.
Thank you. Tin can you incline your caput just a petty bit more, perfect ,than towards me but a little.
Thank you. Chin up just a bear on.
And that's the warning. It's fourth dimension for a pause.
Now later on throughout the course of this cartoon
I might proceed working on
filling in shapes or rhythms and lines, the groundwork, during those moments the model's on break.
Considering I'yard doing this similar very shift around kind of accurateness piece of work,
I'm going to take a break and walk away from my easel
at every suspension only and so I become as many flashes with a fresh center is possible.

And then at this point yous know we do take a fair bit downward.
It is funny you like that inclination a little meliorate
I remember. Okay, that's a little extreme will raise your chin
just slightly, great and optics over that style.
Pretty good. Tin you plow towards me merely a little?
Excellent. Okay. Well, I have a lot of downwardly but I'grand notwithstanding just trying
to get it to lock in more.
I hope that this really reminds you of the stage in my cast drawing where everything sort
of looked there but it wasn't entirely articulate which way, which direction the T of the
face up was pointing whether it
was pointing a little bit that way or that mode.
So I have some expression of the shapes - chin up a lilliputian please, perfect.
So I have some semblance of the shapes merely their human relationship to one some other, they're still
floating effectually. I'm just bringing her brow line up ever-so-slightly.
And I did start to thin her down more.
I got an impression when she prepare that she'southward a little bit longer in the
features than I have. So.
Yeah and that's looking better to me already.
Heighten your chin just a little. Wonderful.
Okay little bending shifts hither and there. Remember in the concluding session
I was saying how she seemed a little wide through the muzzle here.
So by bringing in both the exterior of the face and sort of chipping away at it on
either side, that's starting to get a niggling closer.
Notice at present, I'm using a footling fleck more well-nigh the tip of my charcoal.
Before I was virtually exclusively using this kind of broad -
now I'g going and trying to delineate the border on some of these things.
Chin up just a bit. Okay.
Fifty-fifty though information technology's early on in the drawing because I am working on greyness paper,
I merely want to make a couple marks of where I remember there will be petty
highlights and lights. Not to start sort of finishing those areas
considering nosotros're still a ways off from that,
I want to apply information technology
equally a cartoon tool. Non unlike in the Bargues when I put a chip of internal
information but to assistance me
to see the profile with more precision. So one of the nigh important highlights volition be
that mark at the tip of the nose.
And fifty-fifty if I don't go this in exactly the right place on the beginning pass,
every bit a drawing tool it'southward going to help me.
And now I'm looking - if I can point out a couple things on you lot
please, now I'yard not just looking at that calorie-free up tip of her olfactory organ merely
look at the relationship between the lights hither and the light here and I'm sort
of making a triangle that will help me to
make sure that I'm getting close to the right
proportions. Okay, I immediately see some changes
that I tin make. Can you lot turn only a tick dorsum that way.
Give thanks yous. Perfect. Chin up a piffling bit.
Fantabulous. Actually moving the labella over only a impact. Again I'm just getting everything laid in.
Trying to tighten up the position
of the features at present. Plow back just a tick that way.
Give thanks you and chin up just a footling scrap.
Much meliorate. I'g remembering drawing
some of thedr same shapes or similar versions of these shapes in the Bargue drawings and
bandage drawings that I did for you guys at home.
I should await that you lot can experience some continuity betwixt one of these projects and the
other that as you're following along with the drawings that I'chiliad doing
the approach starts to experience familiar
even though the subject is irresolute.
Softening merely a little from time to time really does help with the likeness.
Tin can yous raise your chin only a chip? Thanks.
I'grand starting to look not but at the shadow edges just some of the half tones also.
But aid me to identify everything.
And so again I'thousand non starting finishing with my slice of white chalk,
I'm simply looking at the pose, I'm looking at
my drawing, and I'm using these little spots to help me
make sure I continue correcting.
Another highlight at that place.
Chin up just a fiddling. A nice thing about working with Johanna
is that from time to time
until she's sort of thinking about something
it's like her her face up hasn't really fallen asleep every bit she'south working. If I see
the hint of a grinning sort of come to her mouth or her optics I'll
often effort to hint at that. Portraiture being this amalgamation of moments,
I actually don't want to make solely a likeness of her just something that has an
aspect of her expression that's kind of like a overall goal. Although these lines looked good
before, because of some adjustment I made in the head,
she'due south starting to look like she was slouching. I needed to raise -
not in nature, you're doing just fine. I need to raise her shoulder a lilliputian. Yep that seems better.
Chin up. Slightly more than inclined - in that location, perfect.
Things are starting to fall into place a little bit more.

Taking a footling intermission from time to time - and I know I audio like a broken tape
talking most it every minute,
only it's like I recharge my batteries. I see this over again and I think
well, in that location's some changes I can brand okay.
So from my spot can you turn but slightly that style.
Chin up a little chip.
Eyes over in that location. Chin up just a touch. I'm still looking at that triangle from zygomatic to zygomatic
to chin, you know from cheekbones to the mentum.
Excellent. It's important to remember this sort of project is what nosotros've been training for.
Doing a Bargue or a cast,
those points where the difference of a millimeter or two,
you're asking yourself why you are paying so much attending to such minute details and
then it comes to a portrait and it's actually hard to
make something that looks similar a person.
Simply you lot actually go after a
atypical person's likeness takes and then much concentration.
Edging the corner of the mouth downward only a little fleck.
Scaling down the shadow underneath the nose.
Just now can I really outset to recollect nearly the nostrils,
the iris, the lacrimus,
yous know any smaller beefcake or modeling upwards until this point has been dependent on
where I place everywhere else, how exercise I identify everything else.
Alright let's spend some time on the neck and shoulders.
I don't want to let anything get likewise far behind, remember.
I don't desire to permit a back straggler sort of
run away from the residual of the process now.
Move this way. Move a little up.
Cheers. Okay, I've pushed around a lot.
But I remember I'thou going to start to introduce merely a lilliputian bit more than
half tone also. I desire to get the fall off of light every bit it comes down
her face. And then I have an H and I have my white chalk.
Erasing back into it where I need to and then re-establishing shadow where I might demand to.
So remember when I merely put that tone down
it looked slightly night, but now equally I'thou re-establishing the darks underneath it and adjacent to it
seems much more than reasonable. Turn dorsum that way. Thank you. Just a little bit more inclined.
Anoint you lot. Did you lot set up the timer this time? I did. Okay.
Observe that as I'grand using the white chalk and I am committing a lilliputian fleck more to
the shapes that I take in my portrait of Johanna,
even all the same I am pushing things around, moving. I'm using the same keying harmonic concept
that I did in my projects on white paper.
I'1000 cautious not to make 1 light lighter than everything else.
I want to keep the right tonal hierarchy.
Knead my eraser, so it's prissy and clean. I wanna I move this - yeah,
that's better. I'grand not sure
how much room I have to model some of these half-tones.
Entirely depends on how much chalk I put down and probably in my side by side session
that's what I'yard going to showtime to deal with.
You wanna take a break? What I was saying is I'm starting to put in some of
these darker halftones, but that'southward only going to be night in relation to what I do
in the lights. I haven't actually decided on how vivid I'll leave the forehead, how bright
I'll have the light in the cheek or the nose.
So nosotros'll deal with that pretty shortly but
I'thousand starting to take my eye on it.
Soften that a footling. Often I'll soften - I piece of work while the model'southward
resting.

Out your mentum upwards a little, dorsum over this way, stretch out your shoulders a little.
Aye, in that location yous go. That'southward good.
A picayune more tilt. And chin upward.
Give thanks you. That's very skillful.
Okay, so it'south a new day,
new session, I feel less attached to my cartoon naturally.
More willing to see the things that I might have been thinking almost before.
Okay. Her olfactory organ feels wide and her
cheekbones experience a little broad likewise.
See why that is.
Mentum up a picayune. Thanks.
As I'one thousand drawing, I'm recalling doing some of the same work
for you guys working on that cast drawing of Michelangelo's, remembering sort of carving out
around the nose and lips.
The job I'm doing here is no dissimilar.
Chin upwardly. I proceed noticing
I have her optics a lilliputian scrap too close to her nose.
There goes a piece of charcoal.
I'm gonna bring that up only a piffling bit.
At present I'm noticing the highlight on that lower lip
being quite a bit brighter.
Pulling that up. Remember over again, my
eraser is not just for racing.
Information technology is a drawing tool.
Just unifying a piddling flake the white chalk that
I've already put downwards. I really want to model - turn just a lilliputian scrap, oops, a little bit -
thanks. I really want to model through the lights a niggling more.
Just using the white chalk almost similar a castor to sort of saying okay this
way, that way, starting to model
around the forms. All right. Every time I darken something I need to
re-constitute another part inevitably. But I'm drawing the lips,
continuing to think the lips on the Michelangelo
bandage drawing. It'southward very easy to get distracted past
the slight amount of makeup or lip gloss that Johanna is wearing, just makes like a slight
color difference. Makes information technology very tempting to
over model it when fact we want to treat it with the aforementioned sensitivity similar you
did in the other drawing. Just plotting out where that earring will get.
Practice you demand a break? No I'yard skilful. Did you lot fix a timer?

And we've fix the fourth dimension. So at this betoken I know I've gotten slightly placidity as
I've been working, I might not be talking to you lot as much every bit I did on
some of the other projects merely I am but trying to concentrate. I want only to -
even though I've been so flexible and moving things dorsum and forth, at this indicate
I really just want to now slow down and fleck abroad at each of the shapes
and whatever I'yard most sure most start to commit to it.
And then the thing that I've sort of started latching onto has been this eye correct here.
It seems to be it seems to be very proficient - a picayune more tilted. It seems to be working
all correct and so far, and then I'thousand going to proceed going for a moment.
See what else I can
find. I exercise experience like a fiddling highlights in the earring.
And so I'm going to put another i of those in.
On this side now that I meet it.
Yes, there'south something up with her mouth.
Like I can tell that her rima oris -
not your oral fissure. Your rima oris is fine
just how it is. No,
I'chiliad really I'yard looking at the expression and I do think that centre is looking okay,
but I'm not yet convinced by all of the caput.
So let's see what we can practice.
Let me sharpen a piece of charcoal.
Yeah, at that place's something going on with the olfactory organ and oral cavity.
Merely all I tin can practice at this point is just keep looking out for that.
Yeah there is the darker half tone
on her nose, but I guess I need to start
come across whether I'1000 keying that upwards on the cheek
before committing to exercise any more modeling on the olfactory organ.
Trying to just find the loftier points.
in the forms that I tin run across. Discover I'thou starting to utilize my white chalk differently too, before I was
kind of running over an area now
I'thou trying to put a trivial chip of directional mark making in.
This is all part of me trying to commit. So starting to read well from a altitude.
I am not interested in standing upwardly hither and making information technology look
good up close yet. A wonderful Frank Benson line - Frank Benson the Boston Schoolhouse academic painter,
teacher, and impressionist said a painting should work first
well from 30 feet, then from 20 feet,
and so well - only then well from ten feet. Something similar that. And that'southward a peachy
example how we slowly commit to work.
John Sargent has a line which echoes that, start with a broom and terminate with a
needle. And conceptually both those things sort of illustrate what I'1000 trying to exercise with this portrait.
I am working relatively slowly and right now I'm in that
heart stage. I don't accept a broom nor a needle.
You can take a suspension for a 2d.
I have this nice hard spot in my charcoal right now
so I'm giving my model a brake.
Utilize that to unify a little bit.
I hope yous tin hear that noise, sounds a little bit different than the other marks I have been
making. Well it's going to break somewhen.
At that place goes my hard spot. I'm almost ready to beginning again.
You can milk shake out for a infinitesimal.
Come across if I can detect some other hard spot. Alright permit's get started again.
Can you cock your head a footling bit the other manner?
Oh, yep, thank you. Can you actually throw your hair over your shoulder a little bit more than,
try to get effectually the ear.
There you go. Perfect. I was merely thinking of another Sargent quote.
A portrait is a likeness with a problem with the mouth.
And that's how I'm feeling right now.
There are e'er bug which will pop up.
But yeah, that feels awfully familiar.
Starting to expect like someone and yet
in that location's a problem with the mouth.
I'm going to try to practise get a bit more modeling room in the lips.
So I'one thousand going to key up the philtrum. Every time I primal something up, something else either needs to
come down, I erase -
yeah that's better.
Painting and drawing are problem solving. When I talk to people in other professions, people that
code on the figurer, people that cook professionally, scientists, doctors, a fun game that I've played over
the years is I always try to find common ground on the similarity
between the globe of painting and cartoon as you work in really anything else.
And I always come back to the problem solving concept.
People always actually sympathise that
what we're doing when we draw and paint the man grade, it's repeatedly finding things that stick
out or are clearly out of place and
figured out how to fix them.
I've had this talk with plumbers and carpenters.
I think it's fun to find common ground like that.
Bring your chin up a fiddling. Aye, that's meliorate. Shadow on her olfactory organ is slightly wider - can you lot turn but a touch that fashion?
Thank you. Aye. Her nose is a little bit pocket-size.
Shadow underneath. I call up I probably brought this up much now.
I can feel it's time for me to utilise my mirror.
The first thing I'grand going to practise on the portrait is
stand up up close and just look at my portrait without the model.
When I'm looking at one of my drawings in the mirror I'm simply looking at whether
things lineup structurally; I'm making sure I haven't thrown anything clearly
out of wack. And I'll step back - turn a little chip there.
Gonna look at both. Immediately her nose - the lite down her nose looked a niggling brusque.
So bring that downward. Her chin looked a little big in the mirror
too. In that location'due south that sound again.
Sounds kind of annoying the start time you hear it,
but…

Mentum back this way only a little and little bit more inclination and chin up once more.
It is funny how naturally as nosotros're working the gaze just pulls wherever she'southward looking
and this is really typical when we're working with a model.
That looks proficient. Thank you. Then I'm going to lighten a bit again. And and then I'm gonna exercise a final
pass over the features. Information technology might take me
one-half an hour, might take me an hour. Recollect I have no
real interest in how long it takes, only the quality of the work that I terminate
up with. Yes, this is all nice and soft, little lighter, little flake more unified.
And we're going to requite it
another laissez passer. I promise that you guys watching at home,
I actually sort of promise you get sick of hearing
me talk about unity by the end. Unity and harmony are some of the underlying principles
of creating realist work from life.
It's so easy to break
a harmonic human relationship in a drawing or painting. And it's really all-time
to tread advisedly equally you work. Okay let's go.
Think in the last session I used the mirror and
I was saying the chin was bugging me a chip.
And it looked big.
Wager information technology was just a hair broad because that looks a lot improve.
Continuing to sort of commit.
All correct. Large shapes looking a scrap better.
Slap-up, chin up a fiddling.
Back in the features. Notice I sort of worked all the way around the large shape once
Similar a big mass down the neck, all the way around in the hair.
That'south what we can do on the face now.
So now that I'yard doing sort of effectively detail work,
I may take gone just a niggling too far in the eye right there.
I'chiliad going to accept out the Highlight in the lachrymose.
Yep, I actually need my plumb line now considering I don't want to put my hand
in my hard work. Eyes downward.
Thanks. Chin upwards a little.
Thank you. When I'g working with chalk and white chalk - charcoal and white chalk rather, I'm
cautious not to really mix the two.
Attempt to put one or the other and
imagine where gray paper would go in betwixt the two.
Okay. Even though the alarm hasn't gone off for pause yet,
I call back need one. Would yous heed taking a break?
You don't mind. Okay, allow'southward take a quick intermission.

Put that down. Clean up the eraser. Just a picayune pass on some of these mid tones.
It's okay. I'm not actually -
I will help you but I'thousand kind just looking at the values right now.
You hear that trivial sound of charcoal crunching, I am using the very tip of the charcoal to
make some piffling sharp marks.
Well the construction has gotten a lot better in the past session.
I'm pretty sure y'all guys watching at domicile have noticed
I get a lot more quiet
when I'k working from a live model
than during the bandage or Bargue project. I hope that many of the lessons are kind of self-evident.
The way that they interrelate to ane another. Frankly
information technology'southward just and then much more than piece of work
tracking down the structure in something that is a living breathing human.
That's a lot just information technology works.
Let'southward take a quick break.

Information technology's important to annotation the whites of the optics are never really white. Yous know,
I've been tempted many times to get into the whites of the eyes and start modeling,
but the fact is information technology'southward actually so much
lighter on the lid. I but keep on going over this shape.
I always recollect it'south sensible to do
final pass or two with the white chalk.
Okay. I remember overall I'm pretty
much done with this.
I keep on merely using the white chalk to
brand a petty pass here and there. Cheers Johanna.
So at this stage I feel like I've sort of addressed everything that I tin can and
I tried to use this concept that we learned really on the first day with the
Bargue plate copies how to starting time designing shapes and agree on to them, how to dispense
edges to create form, how to organize the shadows and one-half-tones separately so that they don't
get confused. This is a nice uncomplicated portrait to sort of illustrate how to take these
concepts to the three-dimensional form, a form that moves, a form that is extremely circuitous,
and hopefully this has been every bit enjoyable for you equally it was for me and an
case of how to simplify this incredibly
complicated subject. The addition of the white chalk has been really squeamish because I recall working
both from light and dark gives you lot a sense of in betwixt painting and cartoon. And all
of these lessons are are meant to serve as a mode of seeing like
a painter, a fashion of drawing like a painter, and a mode of simplifying form into
shapes of value, which is the primary lesson I call back to take abroad from all of
this. If information technology's just shapes and value in that location is no difference whether we are drawing or
painting. So I think of this further serves to bridge that gap a little bit.
Thank you lot. And yeah, Johanna did a corking job for us.
And I think this is well-nigh as far as I can take it today.
Cheers.

When yous practice a projection similar this at home,
one of the well-nigh important elements in really getting this right is but the setup. It
is a method to limit the variables
to not just take somebody sitting in a chair off to the side and you working
on drawing or painting them. In this sense when we are
working across sight-size, it actually makes it quite a lot easier stepping back at a
altitude, belongings out our plumb line to find where everything lines upward.
I think yous volition discover that this enables you to work very quickly and later on doing
the cast and bargue projects
I am well-nigh certain that you will find this familiar in a sense and certainly a way to
expedite yous are working on getting a likeness.
Think stepping back is the utmost most important affair you can maybe do.
And if you are standing back in that location flipping your eye back and forth,
follow whatever your heart tells you lot. Keep things flexible,
don't commit too early on and stay organized in
shadows, halftones, lights, and background. Remember each of those exist within a unique family unit and the
family unit of shadows and the family of lights need to exist organized separately.
And that's why we kickoff with the sort of ascending levels of difficulty. I want for
you to gain confidence equally you work through these projects from something that appears very unproblematic
similar the Bargue products to eventually something like the portrait or the effigy that will be
immensely complicated. Call up how these lessons started out. Showtime,
I began merely trying to detect a actually prissy rhythm through the head and shoulders, to
non merely work on the face, to not get caught up in the olfactory organ, mouth, and
optics. No, to outset get a general structure of the hole then slowly building a
blueprint of light and dark that assimilates all of the very circuitous forms.
I must have even revisited just the line of her shirt x times and that was
something that my eye started tell me I had right early on on. Then recollect this straight
line concept. When we look at it like this it factors directly in how we see
the Bargues to how we see the cast.
I want for every one of the drawings that I do during my fourth dimension here at
New Masters Academy I desire for you to exist able to see even in the finished
drawing to imagine the block in on top where that directly line would go
in order to really show the structure considering in instance y'all haven't noticed throughout these projects
in the background here in the studio
there'south many Bargue drawings and casts on the wall.
These are meant to remind y'all of the similarity and the importance of these early lessons
equally we work through more than and more than hard projects.

I hope that that was useful.
I invite you now to become a friend, a family member, everyone around that y'all tin
and effort the same fix. The confidence from having washed this in sight-size with a
plaster cast will aid you lot to become a ameliorate sense of likeness, that ane-to-1 relationship between
the model and your drawing. And it'southward your get-go neat opportunity to do something that has
a real likeness, to not but look human just to endeavor to make it wait similar
just one person. For this projection
it doesn't matter whether you do it on white newspaper with charcoal or whether you'd similar
to try working on toned paper with the addition of some white chalk.
Either way a millimeter is the divergence between it looking like someone and looking like their
cousin. Now I invite you to go started, to endeavour to find the same attention to
detail in the portrait that you did when you lot were working on the plaster cast non
and so long ago.