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As in the previous section – you want to keep it quite focused and avoid the urge to move around the whole drawing as this can be distracting.
You also want to continue to look for sharp and softer edges.
For example – the fire escape needs to be a lot more contrasty and sharper than the soft shadow on the wall behind. This will help create the impression that the escape is sitting in front of the wall in space.
In this exercise, you will be creating a sphere, but the same principles apply whenever you’re drawing or painting any form in a representational artwork.
Use the diagram below or watch the accompanying video lesson as a guide when you create your own sphere.
Pencil or charcoal
Determining the Light Source
1. Draw a circle on the page or canvas, this will be the basis for your sphere. Then draw an ellipse on the ground plane, this will be the shadow cast from the sphere and determine the direction of light.
2. Draw the ‘bedbug line’ (the line that divides light from shadow) onto the form.
Establishing the Shadow
1. Fill in the the shadow shape with an average shadow value (about a 7 on the value scale).
2. Next, fill in the cast shadow on the ground with a similar value.
Adding Variations to the Shadow
1. The shadow isn’t usually evenly dark, because in most cases, light will be reflected into the shadow after bouncing off other elements in the scene. This will cause the centre of the shadow to lighten, becoming darker towards the bedbug line (the ‘core shadow’).
2. The shadow will also become darker where two forms meet one another (like where the sphere meets the ground). This is called the ‘occlusion shadow’, it is dark because neither direct light or reflected light reaches it.
Adding Halftones and Refining the Form
1. Begin adding halftones from the bedbug line, these are the ‘dark halftones’. As the halftones move further away from the bedbug line they will receive more light, and begin to lighten as a consequence.
If you are painting on a toned panel, at a certain point you will reach a value that matches the canvas. When this happens you should stop adding dark halftones and start working out from the lightest values. You will find these values at the part of the sphere that faces the light source. Once you’ve added all the lightest halftones, they will meet the darkest halftones.
If you are drawing your sphere you can just keep adding halftones gradually. The further that halftones are from the bedbug line, the lighter they will be. At some point you will just leave the white of the paper.
In stronger, direct light, the transition from the bedbug line will be more harsh.
In weaker, diffuse light, the transition from the bedbug line will be more gradual and softer.
2. Now that all the halftones have been added you should have a roughly correct sphere. At this point you should spend time correcting value relationships and neatening up your painting or drawing.
In this one off lesson, I will be showing my approach for painting a miniature (part of my own practice). It will be an alla prima piece – which means that I will paint the entire piece from scratch all at once.
In this series we will be creating a soft pencil sketch from a cat reference. You can use your own reference or work from the same one as me using the link below. In this session we will be adding in the cat’s markings and beginning to develop the fur textures.
In this series we will be creating a soft pencil sketch from a cat reference. You can use your own reference or work from the same one as me using the link below. In this session we will be lightly establishing the main shapes and features in the drawing.
In this series, we will be creating a rendered drawing of a broken shell using a mix of graphite and carbon pencils. In this final session we will be refining the texture of the shell and make some final adjustments to the tonal relationships.
In this series, we will be creating a rendered drawing of a broken shell using a mix of graphite and carbon pencils. This session will be spent darkening the shadows and the darker halftones using gradual passes of tone.
In this series, we will be creating a rendered drawing of a broken shell using a mix of graphite and carbon pencils. This session will be focused on getting the basic shapes and shadows of the shell loosely sketched in.