A charming and commendable drawing of a female nude in charcoal by Cindy Gray. The first hand camera approach of filming coupled with her drawing from her lap approach makes for a nice raw video for the viewer to appreciate. It shows that art is readily available wherever you are an in the right frame of mind cracking results can be achieved.
Brought to you by the kind people at ‘Expert Village’ this presenter/artist shows you the important of shading with charcoal to ascertain form and weight within your subject matter.
Shading is important because it gives your subject life and reality so it is vitally important that you are not shy with the charcoal and you almost attack your picture in the darker shaded spots. It really is a case of draw what you see because if you fail to add appropriate shading you run the risk of having flat looking objects or ones which appear to be suspended in a limbo.
It is better to shade more in my opinion and it is also extremely important to be accustomed with the light source or direction of the light which essentially casts the shadows on your objects or subject. Have fun and play around and don’t be shy with that charcoal!
In this video art drawing lesson sketch artist Gary Geraths demonstrates in full how you can learn how to sketch the female form using a step by step process which is not only thorough but extremely well ordered in such a way that you can become very confident within your abilities as an artist and master your drawing skills.
In essence this drawing tutorial covers how to draw the first steps of a gestural, anatomical and spectral life drawing placing heavy emphasis on how drawing movement is achieved alongside the different angles of the body’s proportions are integrated and used to produce anchored areas within your life drawing.
Gary Geraths begins by suggesting how as an artist you must have a starting point when tackling gestural drawing and within this particular female life drawing that starting point is a sense of implied movement. This means each of the pivot points like the elbow and knees must correlate and work in unison as a composition with the lengths of the limbs and the angles with which they cast to ascertain the female form of the model. Composition and proportions on the page must all be relative to each other to create a visual base from which you can operate as an artist.
When observing the female form as an artist you must push the form in either a different or a unified direction depending on the movement captured within the static pose cast by the life model. As Geraths’ drawing evolves, he is constantly looking for proportion especially in the earlier stages of the compositional structure. Using his pencil he sketches guidelines to help him better observe his study from a distance as he steps back from the picture at regular intervals during the sketching process. He uses a series of both fixed and modified lines to guides various structural elements of the female model’s pose to help him proceed to the next stage with confidence and conviction. Just because you use guidelines in a drawing or a sketch, especially a life study, it doesn’t mean you are incompetent as an artist, it merely suggests you are doing it the correct way and helping yourself and your drawing to emerge at a well proportioned and correct rate and ultimately finish correctly and within scale.
He uses skeletal points from the figure in the drawing to quickly and easily place angles between the limbs. He talks of a fictional plumb line amongst other bodily angles which he has learned to observe as an artist to help join the body components together and produce a great perspective within his structural drawings. Once the skeletal anchor points and various bodily angles are composed it is then time to introduce the large fleshy areas of skin which form the muscular physique of the female model. By drawing gracefully with swooping elegant and graceful lines Geraths is easily able to apply three dimensional form to his drawing quickly and effectively due to his earlier research into the skeletal proportions of the figure. Research is just as important in drawing as it is in any other form of art or indeed academia, so make sure you spend much longer ensuring the basis and initial stages of your drawings or sketches are completed fully.
If you ever wanted a drawing tutorial relating to the bio chemistry of the human form and how it relates to drawing then this is a great place to start. Geraths’ use of drawing terminology combined with in depth anatomical appreciation allows for a superb instructional drawing video for everyone to enjoy.
This artist has woken up in the morning to have a one hour session on his easel to draw in charcoal a female nude. The video has been sped up obviously, but it is nice to see his interpretation with the use of block shading and heavily applied lines to emphasise the models external and internal curves. It really just shows that there is always time for a spot of art!
This art tutorial focuses on the different ways in which charcoals and pastels can be used within portraiture and highlights the different properties, elements and techniques in which they can be used.
The instructor is concise with what he is teaching and passionately talks about how charcoal and pastel can work in harmony to create amazing and complimentary effects within your drawings. He begins by mentioning how it is important to realise how different materials work differently on different surfaces and materials so it is key to practice with a variety of each of these two aspects. The softer and larger the pastel makes it easier to cover broad areas of the page for quick filling and large surface coverage which can be very effective in creating atmosphere and space.
The charcoal pencil offers the ability to be used for intricate detailing as well as offering versatility when combined with the softer pastel or charcoal. For example in this video he uses the black charcoal pencil to denote shade, tone and detail with minimal application but still manages to leave a prominent appearance within the drawing. Initially he controls the tones by applying or relieving pressure on the charcoals and is very loose in his method, this gives a rawness and style unique to himself.
The white charcoal pencil is introduced to produce luminosity to the portrait and with the subtle application of the white charcoal pencil the portrait starts to take on a more suggestive yet controlled appearance. The artist also offers advice on how to use the stump to gain maximum results by not overusing it and instead smudging certain areas to create volume within the sketch but also by using it as a pencil too by sensitively drawing with it in the desired areas like the wrinkles around the eyes or the delicate tones surrounding the ears.
If the stump is over used it is likely that your picture will take on a lifeless and flat appearance so it is important to know when to stop, which you will learn from viewing this charcoal tutorial. He expresses that skill comes with practice and experience so it is important to familiarize yourself with your preferred materials and know their individual qualities and assets to see what they can bring to your style of drawing.
The use of the eraser in the charcoal drawing is as much a drawing implement as it is something to remove certain areas of wrong doing. So use it to the add highlights and give pronounced areas a greater sense of depth like the cheekbones or chin and use it to your full advantage to create an organic asset to further your portrait.
Like all good tutorials this is very well narrated and easy to learn from regardless of your skill level as an artist so be sure to take in what is being demonstrated and increase your artistic flare. This is a classic example of how to draw organically with charcoals and pastels.
This artist has provided us with a time lapsed video of her drawing with the use of black and white charcoal pencils/ colored pencils a drawing of a Siberian husky. Unusually you will see how the artist has started from the features first in some detail so I’m certain they were lightly pre drawn, but then progressively works her way out to the ears and heavy fur regions with big areas of block blending.
Heavy applications of black charcoal pencil is used for the fur and is then complimented by the introduction of the white pastel pencil to add the highlights. Colored pencils have been used to add a warm touch to the eyes. A nice short art video which will leave you wanting to grab your pencils.
In this drawing demonstration professional artist Zimou Tan sketches in willow charcoal a female from life in 60 minutes to reveal his finished drawing.
The materials used within Zimou Tan’s sketch of ‘Whitney’ are willow charcoal, a kneeded eraser, a paint brush and charcoal sticks (medium).
Complete with classical music as a backing track the artist confidently and masterfully shows how to sketch a beautiful women from life in 60 minutes with a finished portrait which leaves you wondering how it was at all possible.
To begin with Zimou Tan uses the medium charcoal stick length-ways on its edge to fill the large area where the hair lies. This is very loose to begin with and forms the basis of his charcoal sketch by quickly defining the areas of heavy tonal value. The eyes an shadowed area beneath the nose are also left in black before he moves on using the willow charcoal to define the gentle curves of the female model’s face. Like most professional sketch artists Zimou Tan prefers to use his finger to blend the charcoal around the paper to integrate the tonal areas with the protruding highlighted regions. Other artists may use a blending stump or a cloth to perform the same procedure but it is entirely the artist’s choice as to which comes naturally.
He sketches quickly and sporadically at times focusing his attention on one are more than another. for example around the nearest eye he spends much longer shading and erasing (to pick out the highlights) as this was selected to be the focal point for the portrait sketch. the other areas like the hair have been left as a rough sketch to not take the attention away from the focal point. this is a common technique used by sketch artists to not over embellish a drawing and detract the viewer’s gaze.
To draw suggestively is key to attaining a beautiful portrait sketch. If every feature in the face was too over detailed then it can run the risk of giving the art admirer too many intricacies to digest thus leaving them with the feeling of confusion, even if the sketch is perfectly drawn. Zimou Tan has performed in this art demonstration how to sketch correctly and know when to leave the picture at its most rewarding stage.
This is a sensational video to learn from and see how an accomplished portrait artist performs all the necessary stages to complete a realistic and professional charcoal sketch. Please leave your comments below and ‘like’ this video for others to enjoy by using the social buttons to the right, thank you.
This video exhibits the sketches, doodles and caricatures drawn by artist Mark Mcdonnell over a period of time. Just from visually studying his drawings within his sketchbook and listening to his voice talk over the top you can soon realise how fun it can be and how it is important to have variation within your sketches alongside using careful placement to best fill your sketchpad.
The idea of a sketchbook is to get your thoughts and practices down on paper in your own time without anyone else seeing or critiquing them. McDonnell prefers to use an off white hue paper with a medium texture as it makes for a smoother drawing experience as well as allowing him to use white pencil to highlight his various sketches and really set out the dark tones.
Just because it is a sketchbook doesn’t mean it is solely has to be sketches, you can use washes, inks, crayons or whatever you lay your hands on to gather inspiration at that particular moment in time. McDonnell has a variety of subject matter contained within his sketch pad and states that he just enjoys capturing life in its rawest form, particularly drawing baby monkeys or other wildlife at the zoo in all their various playful poses.
The sketchbook in this demonstration contains a whole wealth of drawing styles; black and white, semi-finished renderings, pen, pencil, crayon, paint, caricature, experimental shapes, silhouettes, linear drawings and inks amongst others. Take the time to see how he focuses on his compositions and placement of drawing to best fill his pages as this is useful for utilising the space on the page as well as maximising its effect as an overall composition.
In this fascinating video, artist Liberace guides you through how he takes on the male torso from life. He begins with quick sketches in a charcoal to outline the basic shapes or building blocks if you like which form the muscles. He then goes into detail whilst drawing, the importance of understanding how the muscles contract a cast shadows through their movement. He uses a white paencil to highlight large and small areas of muscle groups but also uses a brush to soften the anatomical values of the figure under study. Personally, I think this is a gorgeous video of a life study and all the beauty which surrounds it.
In this drawing video you will learn how to draw the male face in charcoals with expert guidance and thorough instruction from a professional sketch artist.
In this sketching lesson you will learn how to use charcoal correctly to maximise the proportions and realism within your drawings. To start with he describes the type of charcoal that he uses which is willow charcoal and he keeps the putty rubber in his left hand to warm it up so it is more active whilst in use within the sketch. He explains that when using charcoal as a medium to draw with it is just as important to take charcoal off as it is to put charcoal down.
He applies the charcoal energetically to the sketch paper by using the large flat edge of the willow charcoal to draw out the oval head shape which mimics the reference photo which he is working from. The artist is not concerned with the width and broadness of the lines nor is he concerned with how dark the charcoal looks because he explains how he can easily erase and amend the drawing at a later stage.
His approach to the charcoal sketch is very loose, with him applying very large areas of heavy shading and mid tones throughout either side of the face. This may seem very crude in the beginning stages but the charcoal is easily manipulated and has the capacity to be blended many times over so don’t be afraid to be aggressive when applying this popular sketching medium. He uses his fingers to blend in the two different tones to leave an oval shape containing the very basic shadows and highlights captured in the reference photo.
Plotting the facial features and adding more defined lines with the charcoal is the next stage in the development of this charcoal sketch. Guidelines are introduced using the charcoal to determine where the eyes, nose and mouth lie within the oval circle. The second layer of charcoal is added to ascertain the shadows and tones which are cast on the right of the face due to the light source being cast from the left. The artist expresses how it is easier to put the charcoal marks on and then take them off than to just keep adding them and hoping or to not apply the charcoal at all.