WEBVTT

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i'm about to introduce the

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woman of the moment um our beautiful

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friend of the national portrait gallery

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and amazing visual artist elisa crossing

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elisa hector could you bring alisa into

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the conversation

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hi elisa thank you so much for joining

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us

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thank you so much for having me this is

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a really fantastic opportunity for me to

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share my passion for drawing with

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everyone so always always happy to have

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more people investing time in the visual

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arts thank you

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thank you and what would a life drawing

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session be without a model um we have a

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beautiful corey coming into the

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conversation corey would you like to

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join in the uh conversation as well and

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give us a wave hector can you bring

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corey in there yeah there's harry

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she's gonna be our model for the

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afternoon

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i think that's probably my cue to uh

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have the digital elves whisk me away

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into the background i'll be a

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disembodied voice so i'll be able to be

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the voice for you today so any of your

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questions that you would like to throw

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into the chat i'll try there's so many

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of you joining us today i'll try and get

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to as many as i can

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um but now it's over to elisa

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hello everyone um

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this workshop is really about looking

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not so much about making beautiful

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drawings that are very polished and i

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really do want to translate how looking

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can work as a drawing on a 2d surface

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so we're going to be making three

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drawings today they'll be roughly 20 and

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they're only two 25 minutes long

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each drawing each time we start we're

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going to be starting as very general

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looking at the tones um

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in a general way and so it will feel a

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little bit strange and we will go for

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the details bringing clarity into our

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focus as we do the second layer

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so why this approach

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it is a bit odd but if we can

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due to the next slide to the powerpoint

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um

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you'll see that

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uh this approach in drawing

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is something that i discovered when i

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was a child we all tend to draw from our

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imaginations as kids and then as i was

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transported from sleepy old camera into

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manhattan as a child i realized how

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important my vision was to see my

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parents the only problem was it wasn't

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working so well i couldn't quite see in

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the distance as clearly as i should so i

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became really dependent on identifying

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people by their

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the shapes of light and dark in their

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face

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that's a really um

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unusual thing but if you think in the

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crowd people in the distance they look

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like these

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just

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shapes of light and dark across their

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face and they're very specific to each

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person and as they came closer i would

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see that oh yes they have this

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um

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line and more contrast more clarity

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coming into being

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so this was the the way i thought about

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the drawing

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if we can

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look to the powerpoint we should see

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that slide in evidence

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i can't see the slides but

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we'll move on to

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thank you

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okay so

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the next slide um shows you the

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technique so this is

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the idea that um

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you're using this strange technique of a

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pounce it's slightly a novel way of

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working with it

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the pants is traditionally used for

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working with the drawing and translating

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it onto another surface so if you had a

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drawing that you'd spend a lot of time

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on you perforate the contours of it and

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then using the pounce which is a a bit

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of wadding wrapped in a fine gauze with

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some powdered charcoal in it you could

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tap the back of the drawing and release

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the the

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charcoal onto the surface of the

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paper and that's that's a fantastic

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thing to be able to translate at drawing

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we're using it a bit differently today

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we're going to be using it as a means to

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give a soft gentle shapes to the this

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face

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if you saw in the

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previous image where i had three stages

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this face from very soft

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and coming sort of looking very out of

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focus

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and then coming a little bit more

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sharper as it was giving some more

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details with line and then some

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highlights finally you'll see that

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that's effectively imitating someone

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coming towards me in space

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so that's basically what we'll be doing

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don't worry if you don't have putts

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because

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you should be able to just use a little

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nub of charcoal i often use willow

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charcoal little nub of it on the side

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maybe even less than that and you can

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use it

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holding it differently holding it

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so that it gra you're grasping it

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sideways on and then drawing with it

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just like that so it's uh getting you a

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broader less linear approach to make

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mark making

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so i think um

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if we can just we're going to start

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drawing fairly quickly i just want to

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give you a couple of tips at the outset

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so if we look to the next slide

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this should have

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a strange little face that you can see

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an egg face um

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typically when we think about drawing a

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face we often start with an outline and

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then try and fit the features in and if

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you notice in children's drawings often

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draw the eyes really large and that's

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because that's what's interesting

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but what i found as a child that when i

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was drawing when i was looking at these

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crowds of people i was noticing not so

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much the details of the face um

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but the how much space there was around

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the features there's a lot of

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void that

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around the features so when we start

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this drawing

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um we're going to be looking at all that

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soft skin and the structures that are

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there and we're going to be looking at

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the features maybe a little bit lower

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down into the face trying to um make

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more room for

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all all the nuances of muscle and skin

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over that skull so that's where i set

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off and if you can see on the right hand

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side of that image there's a very

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there's a strange little um triangle

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that just shows you how small a space

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those features occupy

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so what we're going to do now is i'm

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going to

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set up to draw i hope that you can all

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be following along and it will be

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our first pose with corey

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is going to be straight on

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i've got a bit of lighting

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here now this is my

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bit of wadding

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so we've got uh with corey a little bit

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of shadow to one side of her face and

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another side with the light so that's

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going to help us get a little bit of

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volume

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but i'm going to start my drawing a

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little bit lower down into the page i

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hope you all can see what i'm doing

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a little bit lower down means that i'm

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starting actually with the eye socket it

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looks quite dark here

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um i'll go around to the edges where the

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hair is i'm looking for shapes

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this way of drawing

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soft softly applying the pelts then

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putting a bit more pressure on

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moving through the

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um

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moving through the face

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is is a really

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different way than drawing just an

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outline putting features in

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but the other thing about this approach

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um is that i need to be

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pretty much so set up so that i can see

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corrie without moving my eyes my whole

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head too much just moving my eyes

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across so you're really trying to match

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what you see

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and at this time i'm tracking shapes of

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darkness so as i said um this is going

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to look out of focus and a bit abstract

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as we started off

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you can see there's a little bit of

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shadow across the top of her forehead

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look at the hairline you can emphasize

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the shadows a bit more strongly just to

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give yourself a sense of uh yes i've

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come to the edge of that head

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her face and i'm seeing a little bit of

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hair and how

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far out you go or how far you out you

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push to get that hairline

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is just a way of measuring how big her

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head is

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or at least that mass of hair that you

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can see relative to her face i don't

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always um continue on in a sort of a

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logical progression naming things this

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this way of working relies on being

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quite abstract

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and by that i'm looking for

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shapes of light and dark

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and first tracking the darts obviously

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there would have been the ones that i

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could see most when i was a child

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and

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interestingly as i come down the

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cheekbone here

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feel around i can feel there's a fair

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bit of darkness in there but i'm not

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sure how far to go so i'll come back to

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the eye socket where i know i'm

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i'm

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safe

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there is definitely shadow there and i'm

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now going to come across and find the

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shadow down the nose

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down the nose i don't need to

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emphasize too much at this point i'm

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just going to see how much of a shape it

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is i'm keying in that there's a little

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bit of a shadow that's

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cast on the face from the nose and

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there's a shadow on the nose that's

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attached i'm going to go down and look

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at that i might use my pants a bit

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trickily here

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i can push with my finger to just

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make that pounce

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imprecise tall as it is to capture a bit

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of the nostril

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and then i'm going underneath the nose

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to the next nostril i might slip down

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and find

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beneath uh the nose that the sort of

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shapes of shadow and light across the

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top lip

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really softly it's like i have um i'm

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putting flesh tones over her in some

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ways

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imagine that as just

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yeah softly caressing the the face

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come back to that uh top lip

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and you really are

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feeling your way down measuring how how

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long is it between her top lip and her

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nose

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where do you think the the crease

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between the

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lips would occur

376
00:10:58.880 --> 00:11:01.040
and how much space down to the bottom

377
00:11:01.040 --> 00:11:05.199
lip so this way of tracking through

378
00:11:05.199 --> 00:11:07.199
changing my pressure

379
00:11:07.199 --> 00:11:08.079
to

380
00:11:08.079 --> 00:11:09.679
sort of imitate some of the lights and

381
00:11:09.679 --> 00:11:12.480
darts that are happening is really quite

382
00:11:12.480 --> 00:11:14.000
a lot of fun

383
00:11:14.000 --> 00:11:16.400
but i'm not not going to keep going too

384
00:11:16.400 --> 00:11:18.880
much down that way i want to

385
00:11:18.880 --> 00:11:21.039
balance this out and make sure i'm on

386
00:11:21.039 --> 00:11:23.919
the right track so i'm going back up

387
00:11:23.919 --> 00:11:26.400
remember if you go over too heavily and

388
00:11:26.400 --> 00:11:28.640
you've darkened something this is not

389
00:11:28.640 --> 00:11:30.559
the moment to despair and give up this

390
00:11:30.559 --> 00:11:32.720
is the moment to go ah

391
00:11:32.720 --> 00:11:33.679
oh

392
00:11:33.679 --> 00:11:36.160
wipe that off or rub that off back or

393
00:11:36.160 --> 00:11:38.880
use a bit of a brush to get rid of it

394
00:11:38.880 --> 00:11:41.039
and you can see even here i'm changing

395
00:11:41.039 --> 00:11:43.360
the relationship of where that shadow is

396
00:11:43.360 --> 00:11:45.440
relative to the nose

397
00:11:45.440 --> 00:11:49.039
realigning my proportions every moment

398
00:11:49.039 --> 00:11:51.440
of looking and mark making is a new

399
00:11:51.440 --> 00:11:53.919
moment of looking and checking things

400
00:11:53.919 --> 00:11:55.280
out

401
00:11:55.280 --> 00:11:58.400
i'm going to go up above the eye a bit

402
00:11:58.400 --> 00:12:01.200
and see where the eyebrow is

403
00:12:01.200 --> 00:12:03.760
this is a nice landmark for me it helps

404
00:12:03.760 --> 00:12:05.760
me to think about proportions there's a

405
00:12:05.760 --> 00:12:08.400
shadow just gently above it

406
00:12:08.400 --> 00:12:10.320
and then i'm going to track up to the

407
00:12:10.320 --> 00:12:13.280
hairline again

408
00:12:13.520 --> 00:12:16.160
come back down through this shadow if

409
00:12:16.160 --> 00:12:17.919
you're noticing on your drawings when

410
00:12:17.919 --> 00:12:20.480
you're trying this that you're

411
00:12:20.480 --> 00:12:23.360
seeing how your eye skips from one

412
00:12:23.360 --> 00:12:25.520
shadow into another it's like you

413
00:12:25.520 --> 00:12:28.320
registered to the shadow so take a

414
00:12:28.320 --> 00:12:31.600
moment to look at it find that shadow

415
00:12:31.600 --> 00:12:33.760
and then notice how

416
00:12:33.760 --> 00:12:36.640
easy it is to slip into the next shadow

417
00:12:36.640 --> 00:12:38.799
cruise on down that it's like your eye

418
00:12:38.799 --> 00:12:42.240
wants to go to things of light value

419
00:12:42.240 --> 00:12:44.720
we go down into the neck i hope you all

420
00:12:44.720 --> 00:12:46.080
can see

421
00:12:46.080 --> 00:12:50.000
uh this edge of the drawing

422
00:12:50.000 --> 00:12:51.360
i'm

423
00:12:51.360 --> 00:12:53.520
going to cross over a little bit into

424
00:12:53.520 --> 00:12:56.240
the neck i'm measuring as i go i'm

425
00:12:56.240 --> 00:12:58.480
really not just

426
00:12:58.480 --> 00:13:01.120
drawing i'm looking for that

427
00:13:01.120 --> 00:13:02.960
shape and the distance to the next

428
00:13:02.960 --> 00:13:06.000
shadow there's an area of light

429
00:13:06.000 --> 00:13:07.760
a little bit of shadow underneath the

430
00:13:07.760 --> 00:13:09.200
chin

431
00:13:09.200 --> 00:13:11.840
let's go back up into

432
00:13:11.840 --> 00:13:14.799
there's a tiny bit of shadow coming down

433
00:13:14.799 --> 00:13:15.679
from

434
00:13:15.679 --> 00:13:16.960
the nose

435
00:13:16.960 --> 00:13:19.600
and that coolness across this side of

436
00:13:19.600 --> 00:13:20.960
her face

437
00:13:20.960 --> 00:13:24.320
is the lights mainly hitting from above

438
00:13:24.320 --> 00:13:26.480
and i'm going to shape and feel the

439
00:13:26.480 --> 00:13:28.080
cheekbone

440
00:13:28.080 --> 00:13:30.240
into her face there's a little bit of

441
00:13:30.240 --> 00:13:34.160
the ear moving across here

442
00:13:34.160 --> 00:13:36.799
and the shadow underneath behind for her

443
00:13:36.799 --> 00:13:39.200
hair now they might be thinking what on

444
00:13:39.200 --> 00:13:40.880
earth is going on

445
00:13:40.880 --> 00:13:42.080
with these

446
00:13:42.080 --> 00:13:43.600
drawings

447
00:13:43.600 --> 00:13:46.559
but this is basically

448
00:13:46.559 --> 00:13:48.799
going to come together and look a little

449
00:13:48.799 --> 00:13:53.880
bit more like a person as you go

450
00:13:54.400 --> 00:13:56.080
but how are we going for time on this

451
00:13:56.080 --> 00:13:58.320
jill

452
00:13:59.919 --> 00:14:02.080
i can't hear you i try to i tried to

453
00:14:02.080 --> 00:14:04.480
mute myself to uh stop interrupting the

454
00:14:04.480 --> 00:14:07.280
lovely flow of the drawing um

455
00:14:07.280 --> 00:14:08.799
we're doing really well we've got about

456
00:14:08.799 --> 00:14:10.640
we're about 12 minutes in so about

457
00:14:10.640 --> 00:14:12.320
halfway

458
00:14:12.320 --> 00:14:13.840
i should have said at the beginning that

459
00:14:13.840 --> 00:14:15.919
we're going to be doing uh three lots of

460
00:14:15.919 --> 00:14:18.880
25 minute poses for everybody so

461
00:14:18.880 --> 00:14:21.440
settle in for each one

462
00:14:21.440 --> 00:14:23.679
i can see elysee you can't see everybody

463
00:14:23.679 --> 00:14:25.440
probably at the moment because you're

464
00:14:25.440 --> 00:14:27.440
working away but there are so many

465
00:14:27.440 --> 00:14:29.440
wonderful faces on the camera on the

466
00:14:29.440 --> 00:14:31.760
gallery view at the moment and everybody

467
00:14:31.760 --> 00:14:35.760
is head down busy boring

468
00:14:35.760 --> 00:14:37.280
um

469
00:14:37.280 --> 00:14:39.600
the other thing i'd like everyone to oh

470
00:14:39.600 --> 00:14:41.919
look that we've got this sort of i did i

471
00:14:41.919 --> 00:14:43.360
said there wouldn't be beautiful

472
00:14:43.360 --> 00:14:45.360
drawings i did say there'd be a way of

473
00:14:45.360 --> 00:14:46.960
looking um

474
00:14:46.960 --> 00:14:47.760
so

475
00:14:47.760 --> 00:14:49.440
i'm sorry

476
00:14:49.440 --> 00:14:51.679
i'm sorry everyone but it's it's a

477
00:14:51.679 --> 00:14:53.760
lovely thing to be able to

478
00:14:53.760 --> 00:14:56.320
map this in you think of all the time

479
00:14:56.320 --> 00:14:58.799
you might invest in a linear approach to

480
00:14:58.799 --> 00:15:01.919
drawing and then you maybe you've drawn

481
00:15:01.919 --> 00:15:04.000
everything beautifully and then you want

482
00:15:04.000 --> 00:15:06.960
to add tone and that's the potential for

483
00:15:06.960 --> 00:15:09.440
that is that you're going to

484
00:15:09.440 --> 00:15:12.159
delete or or mask a lot of the very

485
00:15:12.159 --> 00:15:14.320
beautiful observation that you've done

486
00:15:14.320 --> 00:15:16.880
so it's really good to be able to just

487
00:15:16.880 --> 00:15:21.039
um yeah come back in and

488
00:15:21.039 --> 00:15:23.280
put put the tone in first and then now

489
00:15:23.280 --> 00:15:25.679
what i'm going to do is i'm putting the

490
00:15:25.679 --> 00:15:27.840
the pants aside for a little while

491
00:15:27.840 --> 00:15:30.799
it doesn't mean i'm finished it just

492
00:15:30.799 --> 00:15:33.600
maybe yeah of course it doesn't you can

493
00:15:33.600 --> 00:15:36.640
keep playing with it for a long time but

494
00:15:36.640 --> 00:15:38.480
what i'm going to do now is just have a

495
00:15:38.480 --> 00:15:39.760
go with

496
00:15:39.760 --> 00:15:41.919
a stick of wine charcoal

497
00:15:41.919 --> 00:15:44.559
and have a little run in with that

498
00:15:44.559 --> 00:15:46.720
anywhere you've gone a bit too heavy you

499
00:15:46.720 --> 00:15:49.440
could perhaps if your paper allows you

500
00:15:49.440 --> 00:15:52.159
to you can rub it back

501
00:15:52.159 --> 00:15:54.559
you could use a

502
00:15:54.559 --> 00:15:56.880
your finger just to try and take a

503
00:15:56.880 --> 00:15:58.559
little of the charcoal off this paper

504
00:15:58.559 --> 00:16:00.559
seems to be belligerent so i'm going to

505
00:16:00.559 --> 00:16:01.360
just

506
00:16:01.360 --> 00:16:03.200
use an eraser

507
00:16:03.200 --> 00:16:05.600
knock back a little bit of the

508
00:16:05.600 --> 00:16:08.880
mid tone so it's a little less severe on

509
00:16:08.880 --> 00:16:10.720
that shadow there

510
00:16:10.720 --> 00:16:12.080
okay

511
00:16:12.080 --> 00:16:14.960
so my next step is to

512
00:16:14.960 --> 00:16:16.559
i know it's a bit

513
00:16:16.559 --> 00:16:19.039
quicker but my next step is to start a

514
00:16:19.039 --> 00:16:21.440
bit more refinement and this is as if

515
00:16:21.440 --> 00:16:23.840
people are starting to get closer to me

516
00:16:23.840 --> 00:16:25.280
when they're moving through the crowd

517
00:16:25.280 --> 00:16:27.280
and i'm seeing them entering my visual

518
00:16:27.280 --> 00:16:30.240
field so i'm starting at a really

519
00:16:30.240 --> 00:16:32.480
crucial point where i find very helpful

520
00:16:32.480 --> 00:16:34.480
to start out which is where the eye

521
00:16:34.480 --> 00:16:37.919
meets um towards the nose you don't want

522
00:16:37.919 --> 00:16:40.080
the tear duct sitting right into the

523
00:16:40.080 --> 00:16:43.200
nose you want a little bit of a gap

524
00:16:43.200 --> 00:16:47.440
between the two but here i'm noticing

525
00:16:47.440 --> 00:16:52.640
um the inside lid of the eye the the top

526
00:16:52.640 --> 00:16:55.520
curve of the eyelid as it folds back

527
00:16:55.520 --> 00:16:56.640
into

528
00:16:56.640 --> 00:16:58.480
this eye socket

529
00:16:58.480 --> 00:17:01.919
and coming back out onto the top of the

530
00:17:01.919 --> 00:17:04.559
eyebrow range you see

531
00:17:04.559 --> 00:17:06.799
the shape of the eyebrow and these sorts

532
00:17:06.799 --> 00:17:08.640
of things can make you feel a little

533
00:17:08.640 --> 00:17:10.720
more confident that you're

534
00:17:10.720 --> 00:17:12.960
tracking and seeing and getting a face

535
00:17:12.960 --> 00:17:14.080
together

536
00:17:14.080 --> 00:17:17.120
i'll come back down to the eye and just

537
00:17:17.120 --> 00:17:19.840
define a little bit more of the shape of

538
00:17:19.840 --> 00:17:22.080
it because this will

539
00:17:22.080 --> 00:17:25.360
give me a little bit more certainty

540
00:17:25.360 --> 00:17:28.960
did you feel when you were drawing how

541
00:17:28.960 --> 00:17:31.280
unsure you were about these shapes that

542
00:17:31.280 --> 00:17:33.760
you were making and that's okay because

543
00:17:33.760 --> 00:17:35.760
they're quite they are quite abstract

544
00:17:35.760 --> 00:17:37.840
they're

545
00:17:37.840 --> 00:17:39.360
going to talk a little bit more about

546
00:17:39.360 --> 00:17:41.919
them in in them in a minute but as i

547
00:17:41.919 --> 00:17:44.080
track across i'm looking for how much

548
00:17:44.080 --> 00:17:46.960
distance between the tear duct

549
00:17:46.960 --> 00:17:48.400
and

550
00:17:48.400 --> 00:17:50.240
there's that bit of shadow the top of

551
00:17:50.240 --> 00:17:53.919
the nose the ridge of the nose

552
00:17:53.919 --> 00:17:56.240
where's the shadow pick up again here

553
00:17:56.240 --> 00:17:59.279
and how close is the eye to the to this

554
00:17:59.279 --> 00:18:02.880
part of the nose so i'll track across

555
00:18:02.880 --> 00:18:05.120
it's good to be able to um center

556
00:18:05.120 --> 00:18:07.840
yourself to your work and realize that

557
00:18:07.840 --> 00:18:09.520
you have to excuse me a little bit

558
00:18:09.520 --> 00:18:11.840
because i'm working with a camera in

559
00:18:11.840 --> 00:18:13.360
between my body

560
00:18:13.360 --> 00:18:15.600
and my easel which is an unusual

561
00:18:15.600 --> 00:18:17.919
position for me and i have to stand a

562
00:18:17.919 --> 00:18:21.120
little bit to the side but um that

563
00:18:21.120 --> 00:18:23.760
alignment does throw perspectives a

564
00:18:23.760 --> 00:18:26.480
little bit that's okay for

565
00:18:26.480 --> 00:18:30.240
demonstration purposes it should be okay

566
00:18:30.240 --> 00:18:33.520
once again i'm just measuring um by

567
00:18:33.520 --> 00:18:36.559
taking a little line down i call them

568
00:18:36.559 --> 00:18:38.720
lines of extension

569
00:18:38.720 --> 00:18:40.159
they are

570
00:18:40.159 --> 00:18:42.720
my hand and i'm moving in unison

571
00:18:42.720 --> 00:18:44.320
trying to track

572
00:18:44.320 --> 00:18:46.720
space

573
00:18:46.720 --> 00:18:50.640
okay so if i come down from the eye

574
00:18:50.640 --> 00:18:52.799
what do i see next when i drag my eye

575
00:18:52.799 --> 00:18:54.400
down i see a little bit of the cast

576
00:18:54.400 --> 00:18:56.080
shadow

577
00:18:56.080 --> 00:18:58.400
um i might notice that the nostrils a

578
00:18:58.400 --> 00:19:02.080
little bit higher than i saw it before

579
00:19:02.080 --> 00:19:04.480
so i've measured down that

580
00:19:04.480 --> 00:19:06.799
just by moving my iron hand in this sort

581
00:19:06.799 --> 00:19:08.960
of

582
00:19:09.039 --> 00:19:10.320
similar way

583
00:19:10.320 --> 00:19:13.120
let's come in find the nostril

584
00:19:13.120 --> 00:19:15.520
you notice that i'm not actually drawing

585
00:19:15.520 --> 00:19:19.600
exactly in the same spot i was in before

586
00:19:19.600 --> 00:19:23.520
now that's okay to relook and be brave

587
00:19:23.520 --> 00:19:24.960
just

588
00:19:24.960 --> 00:19:27.360
don't worry about it just draw it where

589
00:19:27.360 --> 00:19:28.720
you see it now

590
00:19:28.720 --> 00:19:30.720
and so if you're able to correct your

591
00:19:30.720 --> 00:19:33.440
drawing to where things actually are it

592
00:19:33.440 --> 00:19:34.159
will

593
00:19:34.159 --> 00:19:36.799
will stand you in good stead

594
00:19:36.799 --> 00:19:38.240
let's go on

595
00:19:38.240 --> 00:19:41.360
so more observation of corey

596
00:19:41.360 --> 00:19:42.960
how we

597
00:19:42.960 --> 00:19:44.400
find this distance

598
00:19:44.400 --> 00:19:45.600
between

599
00:19:45.600 --> 00:19:48.000
the bottom of her nose

600
00:19:48.000 --> 00:19:51.120
soften this off a bit

601
00:19:53.039 --> 00:19:54.080
just

602
00:19:54.080 --> 00:19:56.240
rub my finger over here to integrate

603
00:19:56.240 --> 00:19:58.080
things a little bit so it doesn't look

604
00:19:58.080 --> 00:20:00.720
too distinct

605
00:20:00.720 --> 00:20:03.039
okay finding i love to draw with my

606
00:20:03.039 --> 00:20:05.360
fingers

607
00:20:05.360 --> 00:20:08.000
it's a it's just such a child like way

608
00:20:08.000 --> 00:20:10.640
of working isn't it but it's so

609
00:20:10.640 --> 00:20:12.159
responsive

610
00:20:12.159 --> 00:20:14.240
sometimes the tool in your hand can feel

611
00:20:14.240 --> 00:20:15.279
like it's

612
00:20:15.279 --> 00:20:16.480
just

613
00:20:16.480 --> 00:20:18.799
frustratingly in the way

614
00:20:18.799 --> 00:20:21.520
um especially when it's line so i'm

615
00:20:21.520 --> 00:20:23.440
tracking the shapes of her lips looking

616
00:20:23.440 --> 00:20:26.400
for where the curve is at its fullest

617
00:20:26.400 --> 00:20:30.159
each mouth slightly different shapes

618
00:20:30.159 --> 00:20:32.799
um tracking down seeing there's a beam

619
00:20:32.799 --> 00:20:35.360
of light on her bottom lip and it goes

620
00:20:35.360 --> 00:20:37.919
into a bit of shadow so i can still use

621
00:20:37.919 --> 00:20:40.799
the vine charcoal here providing me with

622
00:20:40.799 --> 00:20:43.440
a little bit of that

623
00:20:43.440 --> 00:20:45.919
shadow as well

624
00:20:45.919 --> 00:20:47.760
as line

625
00:20:47.760 --> 00:20:50.400
and under the mouth there's a full a

626
00:20:50.400 --> 00:20:52.559
little bit of fullness under here and

627
00:20:52.559 --> 00:20:55.200
this is um important to note so lips

628
00:20:55.200 --> 00:20:57.279
aren't just these things that are stuck

629
00:20:57.279 --> 00:20:58.400
on

630
00:20:58.400 --> 00:20:59.919
or in my case

631
00:20:59.919 --> 00:21:01.919
painted on um

632
00:21:01.919 --> 00:21:03.200
they are

633
00:21:03.200 --> 00:21:05.840
showing a little bit of the fullness of

634
00:21:05.840 --> 00:21:08.159
that whole area

635
00:21:08.159 --> 00:21:08.960
then

636
00:21:08.960 --> 00:21:11.200
it dents in and we see a lovely

637
00:21:11.200 --> 00:21:12.400
highlight

638
00:21:12.400 --> 00:21:14.640
on her chin and we're coming back down

639
00:21:14.640 --> 00:21:16.080
into the bottom of the

640
00:21:16.080 --> 00:21:18.000
chin

641
00:21:18.000 --> 00:21:19.760
and the side of the face

642
00:21:19.760 --> 00:21:21.760
so what happens in this approach to

643
00:21:21.760 --> 00:21:23.120
drawing

644
00:21:23.120 --> 00:21:24.000
let me

645
00:21:24.000 --> 00:21:28.159
go up here if you notice is that now i'm

646
00:21:28.159 --> 00:21:32.480
only now getting to defining

647
00:21:32.559 --> 00:21:35.120
the outside of her the contour of her

648
00:21:35.120 --> 00:21:38.880
face only now am i making that sort of

649
00:21:38.880 --> 00:21:41.919
judgment um and i can do it either

650
00:21:41.919 --> 00:21:45.840
softly or more heavily

651
00:21:48.000 --> 00:21:50.720
are we going for time now jill oh thank

652
00:21:50.720 --> 00:21:52.799
you for reminding me i almost lost track

653
00:21:52.799 --> 00:21:54.880
of time myself

654
00:21:54.880 --> 00:21:57.440
we're a few minutes away okay maybe

655
00:21:57.440 --> 00:22:00.000
about three minutes three minutes

656
00:22:00.000 --> 00:22:00.880
hmm

657
00:22:00.880 --> 00:22:03.279
it's amazing how fast a picture can come

658
00:22:03.279 --> 00:22:04.720
together um

659
00:22:04.720 --> 00:22:07.360
i don't profess it to be my my greatest

660
00:22:07.360 --> 00:22:09.360
moment but um

661
00:22:09.360 --> 00:22:10.559
i'm just

662
00:22:10.559 --> 00:22:12.799
knocking back here a little bit here and

663
00:22:12.799 --> 00:22:14.640
i got a bit mesmerized by the drawing

664
00:22:14.640 --> 00:22:16.480
and i only have one job and that's to

665
00:22:16.480 --> 00:22:18.720
keep track of time

666
00:22:18.720 --> 00:22:21.520
also to take people's comments

667
00:22:21.520 --> 00:22:23.840
thank you how is everyone going on the

668
00:22:23.840 --> 00:22:26.640
other side of the screen

669
00:22:26.640 --> 00:22:29.520
everybody seems to be very very busy

670
00:22:29.520 --> 00:22:31.679
yeah it's i'm hoping to see some very

671
00:22:31.679 --> 00:22:34.799
charcoaly fingers um

672
00:22:34.799 --> 00:22:37.039
yep oh yes yes i can see lots of people

673
00:22:37.039 --> 00:22:40.080
with charcoal smudges this is great

674
00:22:40.080 --> 00:22:42.240
okay so um

675
00:22:42.240 --> 00:22:44.399
i'm just going to show you guys what you

676
00:22:44.399 --> 00:22:46.640
can do as well

677
00:22:46.640 --> 00:22:48.880
once i've tracked through the darts of

678
00:22:48.880 --> 00:22:51.200
the face um and i

679
00:22:51.200 --> 00:22:53.200
describe that as being quite mesmerizing

680
00:22:53.200 --> 00:22:56.000
and just hooking into those dark areas i

681
00:22:56.000 --> 00:22:58.320
can do the same with the lights if you

682
00:22:58.320 --> 00:23:01.200
stare at an area that's quite light and

683
00:23:01.200 --> 00:23:03.600
um i haven't put a lot of shade into

684
00:23:03.600 --> 00:23:06.960
here a little bit more

685
00:23:07.200 --> 00:23:09.600
told your hands are great if you want to

686
00:23:09.600 --> 00:23:11.440
pull back lights

687
00:23:11.440 --> 00:23:13.279
or ever

688
00:23:13.279 --> 00:23:15.679
a few highlights even a few highlights

689
00:23:15.679 --> 00:23:17.760
you can use an eraser and you can use it

690
00:23:17.760 --> 00:23:19.840
on the side to soften it down so it's

691
00:23:19.840 --> 00:23:22.960
not too linear you can sometimes even

692
00:23:22.960 --> 00:23:25.120
use it in this soft

693
00:23:25.120 --> 00:23:26.159
motion

694
00:23:26.159 --> 00:23:28.640
to just lift off a small amount of

695
00:23:28.640 --> 00:23:30.480
highlight at a time

696
00:23:30.480 --> 00:23:33.760
and and this then change your pressure

697
00:23:33.760 --> 00:23:36.399
get a little bit more vigorous with it

698
00:23:36.399 --> 00:23:38.240
and you'll start to pull in an extra

699
00:23:38.240 --> 00:23:40.480
extra highlight or we have missed a bit

700
00:23:40.480 --> 00:23:42.320
of the proportions on your face i'm

701
00:23:42.320 --> 00:23:44.399
sorry corey but

702
00:23:44.399 --> 00:23:46.000
nonetheless we're

703
00:23:46.000 --> 00:23:48.880
we have a face

704
00:23:51.039 --> 00:23:53.760
let's get some of that light

705
00:23:53.760 --> 00:23:56.159
just like the darts i'm tracking through

706
00:23:56.159 --> 00:23:57.679
from

707
00:23:57.679 --> 00:24:01.039
one area to another

708
00:24:01.760 --> 00:24:04.240
seeing where the lights might be

709
00:24:04.240 --> 00:24:06.960
and it's when you bring these in

710
00:24:06.960 --> 00:24:08.960
that you can sort of

711
00:24:08.960 --> 00:24:11.840
feel the contrast and things coming

712
00:24:11.840 --> 00:24:14.000
forward so if i want to project

713
00:24:14.000 --> 00:24:15.200
something

714
00:24:15.200 --> 00:24:19.279
towards us i need to make more contrast

715
00:24:19.279 --> 00:24:20.080
so

716
00:24:20.080 --> 00:24:22.080
if you can

717
00:24:22.080 --> 00:24:24.480
using an eraser you can just

718
00:24:24.480 --> 00:24:25.679
gently

719
00:24:25.679 --> 00:24:27.200
have a go

720
00:24:27.200 --> 00:24:29.120
coming back into the

721
00:24:29.120 --> 00:24:30.559
the face

722
00:24:30.559 --> 00:24:33.919
lifting areas up

723
00:24:35.200 --> 00:24:37.279
elise would you mind just holding your

724
00:24:37.279 --> 00:24:39.440
um pounce in front of the camera just to

725
00:24:39.440 --> 00:24:41.520
show how large the pounce is we had a

726
00:24:41.520 --> 00:24:43.279
question from liz he's just interested

727
00:24:43.279 --> 00:24:46.720
in yeah rose it's about um

728
00:24:46.720 --> 00:24:48.480
it's it's roughly

729
00:24:48.480 --> 00:24:52.559
oh dear two to two inches an inch or so

730
00:24:52.559 --> 00:24:54.559
it's got that basically this has got a

731
00:24:54.559 --> 00:24:58.080
cotton a large cup more ball in it um

732
00:24:58.080 --> 00:24:58.880
and

733
00:24:58.880 --> 00:24:59.760
some

734
00:24:59.760 --> 00:25:02.799
now it does seem it's a very broad tool

735
00:25:02.799 --> 00:25:05.279
it is it is designed

736
00:25:05.279 --> 00:25:07.279
i'm choosing something that you can't

737
00:25:07.279 --> 00:25:10.000
get line out of quickly and that's very

738
00:25:10.000 --> 00:25:11.840
deliberate yeah

739
00:25:11.840 --> 00:25:13.440
okay

740
00:25:13.440 --> 00:25:15.200
very dusty stuff

741
00:25:15.200 --> 00:25:17.760
should shouldn't have nice dusty hands

742
00:25:17.760 --> 00:25:20.399
the other thing about this which is so

743
00:25:20.399 --> 00:25:21.760
good

744
00:25:21.760 --> 00:25:24.399
yeah you can get a bit more onto it

745
00:25:24.399 --> 00:25:26.559
is everyone finding it's working okay it

746
00:25:26.559 --> 00:25:28.320
feels a little bit

747
00:25:28.320 --> 00:25:30.880
um odd i know but i hope it's working

748
00:25:30.880 --> 00:25:34.559
okay for you all

749
00:25:34.559 --> 00:25:36.880
i think so i think everybody's too busy

750
00:25:36.880 --> 00:25:39.200
to actually make i mean con comments

751
00:25:39.200 --> 00:25:40.720
mickey's been using the lint from the

752
00:25:40.720 --> 00:25:42.960
clothes dryer which is a very economical

753
00:25:42.960 --> 00:25:44.399
use of

754
00:25:44.399 --> 00:25:45.919
i like that

755
00:25:45.919 --> 00:25:47.760
how did you all make your charcoal

756
00:25:47.760 --> 00:25:50.320
powdered as well i've got are there any

757
00:25:50.320 --> 00:25:54.320
life hacks for making how to charcoal

758
00:25:55.600 --> 00:25:57.519
ah we've got um somebody holding up a

759
00:25:57.519 --> 00:25:59.600
big a massive file

760
00:25:59.600 --> 00:26:02.600
oh

761
00:26:04.080 --> 00:26:07.360
if somebody's been using a sieve oh um

762
00:26:07.360 --> 00:26:09.600
a proper cheese grater

763
00:26:09.600 --> 00:26:10.799
yeah

764
00:26:10.799 --> 00:26:13.039
and so some people georgia sources her

765
00:26:13.039 --> 00:26:14.720
charcoal from a fire

766
00:26:14.720 --> 00:26:17.039
citrus zesters mortar and pestle oh my

767
00:26:17.039 --> 00:26:18.640
goodness i'm being overwhelmed with my

768
00:26:18.640 --> 00:26:22.240
comments meat tenderizer okay have you

769
00:26:22.240 --> 00:26:24.720
has anyone thought of this one at least

770
00:26:24.720 --> 00:26:28.240
danced on her charcoal

771
00:26:28.240 --> 00:26:32.880
so i've also um used the salt shaker it

772
00:26:32.880 --> 00:26:34.640
does need sitting a bit but you just

773
00:26:34.640 --> 00:26:37.200
grab grind a little ah

774
00:26:37.200 --> 00:26:40.080
that's really i found i found i used the

775
00:26:40.080 --> 00:26:43.840
little grater and the mortar and pestle

776
00:26:43.840 --> 00:26:46.559
oh there's some genius techniques coming

777
00:26:46.559 --> 00:26:47.440
through

778
00:26:47.440 --> 00:26:49.519
yeah it's it's about being creative

779
00:26:49.519 --> 00:26:51.679
isn't it yeah absolutely

780
00:26:51.679 --> 00:26:53.440
i think we're probably almost at the end

781
00:26:53.440 --> 00:26:56.000
of the first uh sitting if that's if

782
00:26:56.000 --> 00:26:58.960
you're happy with that elisa yes i am i

783
00:26:58.960 --> 00:27:01.919
am i hope everyone got enough out of it

784
00:27:01.919 --> 00:27:05.039
um can i just show you all though that

785
00:27:05.039 --> 00:27:07.039
once your pounce is

786
00:27:07.039 --> 00:27:10.240
done if you are not happy with your work

787
00:27:10.240 --> 00:27:12.960
it's not a problem to just softly

788
00:27:12.960 --> 00:27:14.320
knock it back

789
00:27:14.320 --> 00:27:16.240
and see

790
00:27:16.240 --> 00:27:19.360
where how it looks then next so

791
00:27:19.360 --> 00:27:21.360
don't feel

792
00:27:21.360 --> 00:27:24.000
like it's all over

793
00:27:24.000 --> 00:27:26.080
it's it's a blackboard approach to

794
00:27:26.080 --> 00:27:29.440
drawing and you can keep working with

795
00:27:29.440 --> 00:27:30.880
that

796
00:27:30.880 --> 00:27:34.000
adding and subtracting so it's a very

797
00:27:34.000 --> 00:27:36.720
look look again look again for that sort

798
00:27:36.720 --> 00:27:38.480
of approach

799
00:27:38.480 --> 00:27:40.960
all right let's see those dirty hands

800
00:27:40.960 --> 00:27:42.880
have

801
00:27:42.880 --> 00:27:45.360
straight i'm going to put this one aside

802
00:27:45.360 --> 00:27:46.320
um

803
00:27:46.320 --> 00:27:48.640
and we'll have another

804
00:27:48.640 --> 00:27:51.039
a look at the next one have a bit of a

805
00:27:51.039 --> 00:27:54.320
stretch everyone and thank you corey you

806
00:27:54.320 --> 00:27:56.720
can relax your head

807
00:27:56.720 --> 00:27:59.679
that's brilliant

808
00:28:00.960 --> 00:28:03.279
we've put poor alisa in a terrible um

809
00:28:03.279 --> 00:28:04.960
awkward position for this with all of

810
00:28:04.960 --> 00:28:06.799
the cameras in the way so we do need to

811
00:28:06.799 --> 00:28:08.320
give her regular breaks because she's

812
00:28:08.320 --> 00:28:10.320
having to extend her arm a lot further

813
00:28:10.320 --> 00:28:11.679
than she would normally when she was

814
00:28:11.679 --> 00:28:13.119
drawing so

815
00:28:13.119 --> 00:28:15.520
you know that's all right it's a

816
00:28:15.520 --> 00:28:18.239
bit of yoga going on here

817
00:28:18.239 --> 00:28:20.480
all right i'm going to move that away

818
00:28:20.480 --> 00:28:22.079
um

819
00:28:22.079 --> 00:28:24.320
and

820
00:28:24.960 --> 00:28:26.879
hello there

821
00:28:26.879 --> 00:28:28.159
all right so

822
00:28:28.159 --> 00:28:30.719
um i hope you've all found uh that that

823
00:28:30.719 --> 00:28:31.599
was

824
00:28:31.599 --> 00:28:33.599
a little bit of a different approach for

825
00:28:33.599 --> 00:28:36.000
you or that it was interesting to to try

826
00:28:36.000 --> 00:28:37.520
drawing like this

827
00:28:37.520 --> 00:28:40.000
one of the things it does do is requires

828
00:28:40.000 --> 00:28:41.679
you to

829
00:28:41.679 --> 00:28:43.839
relax a little bit more with

830
00:28:43.839 --> 00:28:46.800
with chaos or with uncertainty and to

831
00:28:46.800 --> 00:28:50.079
allow you to be a little bit more

832
00:28:50.079 --> 00:28:52.480
just trusting of your eyes trust your

833
00:28:52.480 --> 00:28:55.040
eyes and the image will come together

834
00:28:55.040 --> 00:28:57.839
so now that that first pose is done

835
00:28:57.839 --> 00:29:00.560
we're going to the power point

836
00:29:00.560 --> 00:29:02.800
and we're going to

837
00:29:02.800 --> 00:29:04.800
go and have a little look at some more

838
00:29:04.800 --> 00:29:06.480
images

839
00:29:06.480 --> 00:29:08.480
so if we've got

840
00:29:08.480 --> 00:29:10.880
the powerpoints up okay so in this

841
00:29:10.880 --> 00:29:13.280
powerpoint i'm wanting to show you very

842
00:29:13.280 --> 00:29:14.480
quickly

843
00:29:14.480 --> 00:29:16.720
what happens to how the head is

844
00:29:16.720 --> 00:29:20.079
structured so we're looking at um

845
00:29:20.079 --> 00:29:22.320
you've got the head

846
00:29:22.320 --> 00:29:25.520
now shown with two intersecting ovals

847
00:29:25.520 --> 00:29:26.800
and they are

848
00:29:26.800 --> 00:29:29.359
held in a way so that

849
00:29:29.359 --> 00:29:30.480
they never

850
00:29:30.480 --> 00:29:32.800
come apart there's always a right angle

851
00:29:32.800 --> 00:29:35.839
joining the brain case and the oval for

852
00:29:35.839 --> 00:29:37.599
the face and

853
00:29:37.599 --> 00:29:40.320
this is going to be useful for as corey

854
00:29:40.320 --> 00:29:42.720
takes some different poses shortly we'll

855
00:29:42.720 --> 00:29:44.720
look at how it works

856
00:29:44.720 --> 00:29:48.079
the top one you can see um the eyes sort

857
00:29:48.079 --> 00:29:51.520
of roughly center in the face and

858
00:29:51.520 --> 00:29:53.119
level with the

859
00:29:53.119 --> 00:29:54.880
the sort of if you're looking straight

860
00:29:54.880 --> 00:29:57.200
on at someone with your viewpoint you're

861
00:29:57.200 --> 00:29:59.119
you're getting this idea of how the eyes

862
00:29:59.119 --> 00:30:00.960
are a little bit more centered to the in

863
00:30:00.960 --> 00:30:01.920
the head

864
00:30:01.920 --> 00:30:04.240
and the nose center again in the mouth

865
00:30:04.240 --> 00:30:06.800
and then there's a side view which shows

866
00:30:06.800 --> 00:30:07.920
you that

867
00:30:07.920 --> 00:30:10.240
linked up the next thing is to notice

868
00:30:10.240 --> 00:30:12.160
what happens to the head when the head

869
00:30:12.160 --> 00:30:13.680
tilts down

870
00:30:13.680 --> 00:30:16.160
it raises the brain case up and the

871
00:30:16.160 --> 00:30:19.200
features take a sort of a curve

872
00:30:19.200 --> 00:30:20.960
of upwards-ness

873
00:30:20.960 --> 00:30:24.079
so a curve up so you'll notice that the

874
00:30:24.079 --> 00:30:26.640
eyes that were

875
00:30:26.640 --> 00:30:29.599
shown as in a straight line now seem to

876
00:30:29.599 --> 00:30:33.520
have a sort of a curve across them

877
00:30:33.520 --> 00:30:36.079
and as same with the nostrils they sit

878
00:30:36.079 --> 00:30:38.880
on the same plane but now the tip of the

879
00:30:38.880 --> 00:30:42.320
nose is moving beyond or lower than the

880
00:30:42.320 --> 00:30:43.520
nostrils

881
00:30:43.520 --> 00:30:45.839
and the top lip which was

882
00:30:45.839 --> 00:30:48.800
obvious in the frontal pose is now

883
00:30:48.800 --> 00:30:51.839
become almost a spin sliver and you're

884
00:30:51.839 --> 00:30:53.920
seeing more of the bottom lip and the

885
00:30:53.920 --> 00:30:56.480
proportions of the chin have now shrunk

886
00:30:56.480 --> 00:30:57.760
down

887
00:30:57.760 --> 00:31:00.560
when the model puts a head back you'll

888
00:31:00.560 --> 00:31:01.839
notice the

889
00:31:01.839 --> 00:31:05.040
the opposite happening so now the brain

890
00:31:05.040 --> 00:31:06.880
case drops down

891
00:31:06.880 --> 00:31:10.160
the face is raised up and what looks

892
00:31:10.160 --> 00:31:12.079
like

893
00:31:12.079 --> 00:31:14.800
a whole lot of lines curving down so the

894
00:31:14.800 --> 00:31:17.520
line of the eyes is now turning down in

895
00:31:17.520 --> 00:31:19.040
a

896
00:31:19.040 --> 00:31:20.320
in a curve

897
00:31:20.320 --> 00:31:23.280
and the nostrils also that had sat on a

898
00:31:23.280 --> 00:31:25.599
straight line and curving down and the

899
00:31:25.599 --> 00:31:27.520
mouth turning down seeing more of the

900
00:31:27.520 --> 00:31:28.560
top lip

901
00:31:28.560 --> 00:31:30.320
and if you look at the tip of the nose

902
00:31:30.320 --> 00:31:31.599
it almost

903
00:31:31.599 --> 00:31:34.400
cuts off it's not where it should be

904
00:31:34.400 --> 00:31:37.119
so this is why in this example of

905
00:31:37.119 --> 00:31:40.560
internal geometry you're learning that

906
00:31:40.560 --> 00:31:42.400
not to get too much caught up in

907
00:31:42.400 --> 00:31:44.720
formulas but to trust your eyes and look

908
00:31:44.720 --> 00:31:47.839
for these things look for the subtle

909
00:31:47.839 --> 00:31:49.119
shifts of

910
00:31:49.119 --> 00:31:51.280
relationships of the features one to the

911
00:31:51.280 --> 00:31:53.359
other and that should give you a bit

912
00:31:53.359 --> 00:31:56.720
more of a an assistance

913
00:31:56.720 --> 00:31:59.920
so within um with that in mind we're

914
00:31:59.920 --> 00:32:01.440
just going to have a little watch of

915
00:32:01.440 --> 00:32:04.079
corey while she takes on a few poses

916
00:32:04.079 --> 00:32:06.880
corey can you show us your head so

917
00:32:06.880 --> 00:32:08.800
straight on you can see the lines appear

918
00:32:08.800 --> 00:32:11.119
to be straight across the face

919
00:32:11.119 --> 00:32:13.520
the line from the corner of the eye

920
00:32:13.520 --> 00:32:16.240
through the the tear duct then line of

921
00:32:16.240 --> 00:32:18.880
the nostrils and the the

922
00:32:18.880 --> 00:32:20.800
line in between the mouth are the ones

923
00:32:20.800 --> 00:32:23.040
that i'm focusing most on

924
00:32:23.040 --> 00:32:25.760
so now if corey if you look down or look

925
00:32:25.760 --> 00:32:28.560
up yes look up that's the good stuff can

926
00:32:28.560 --> 00:32:30.880
you see now how her eyes have curved

927
00:32:30.880 --> 00:32:33.839
like present moon shapes

928
00:32:33.839 --> 00:32:35.760
and the nostril is

929
00:32:35.760 --> 00:32:37.599
it's not the nostrils you're looking at

930
00:32:37.599 --> 00:32:39.760
it's the line at which they sit it's on

931
00:32:39.760 --> 00:32:43.280
a curve and the curve of the mouth

932
00:32:43.280 --> 00:32:46.480
okay curry if you can look down

933
00:32:46.480 --> 00:32:49.440
you see how that reverses now so the

934
00:32:49.440 --> 00:32:51.760
curve of the eyes a little bit

935
00:32:51.760 --> 00:32:54.320
um turned it's not as obvious but you

936
00:32:54.320 --> 00:32:56.720
can see a lot of the crown of the head

937
00:32:56.720 --> 00:32:58.640
look at the forehead the line of the

938
00:32:58.640 --> 00:33:01.280
hair and you'll see how that has

939
00:33:01.280 --> 00:33:03.359
actually gone from straight to

940
00:33:03.359 --> 00:33:05.760
to curve down like this

941
00:33:05.760 --> 00:33:06.720
um

942
00:33:06.720 --> 00:33:09.040
uh curving up i think you can

943
00:33:09.040 --> 00:33:11.839
now the nostrils also sitting

944
00:33:11.839 --> 00:33:14.880
curved on the curve and the mouth you

945
00:33:14.880 --> 00:33:17.040
can see more of that bottom lip

946
00:33:17.040 --> 00:33:19.839
and look at the um how much

947
00:33:19.839 --> 00:33:21.520
the relationship of the parts has

948
00:33:21.520 --> 00:33:23.280
changed in this

949
00:33:23.280 --> 00:33:26.000
now we're going to do one more uh you're

950
00:33:26.000 --> 00:33:28.079
going to where are we up to three

951
00:33:28.079 --> 00:33:29.920
quarter i'm going to have a look at a

952
00:33:29.920 --> 00:33:31.280
three-quarter which is going to be our

953
00:33:31.280 --> 00:33:32.560
next pose

954
00:33:32.560 --> 00:33:35.119
so in the three-quarter pose you can see

955
00:33:35.119 --> 00:33:39.680
how this idea of a halfway point is um

956
00:33:39.680 --> 00:33:42.240
no longer relevant it's the features

957
00:33:42.240 --> 00:33:44.480
that have you've got more space on the

958
00:33:44.480 --> 00:33:47.280
side of her face that's illuminated and

959
00:33:47.280 --> 00:33:49.599
you can see far less of the corner of

960
00:33:49.599 --> 00:33:50.640
features

961
00:33:50.640 --> 00:33:52.079
we'll have a look at that a little bit

962
00:33:52.079 --> 00:33:54.160
more in a minute thank you corey we're

963
00:33:54.160 --> 00:33:56.079
just going to show i'll just show a few

964
00:33:56.079 --> 00:33:59.680
things on this little um

965
00:33:59.680 --> 00:34:01.839
plaster model i've got here i don't know

966
00:34:01.839 --> 00:34:04.240
i have can you see that clearly a little

967
00:34:04.240 --> 00:34:05.839
bit more

968
00:34:05.839 --> 00:34:07.280
could you just lift it up a tiny bit

969
00:34:07.280 --> 00:34:11.119
more elisa yeah perfect thank you okay

970
00:34:11.119 --> 00:34:14.319
so by having a little plaster model to

971
00:34:14.319 --> 00:34:16.880
show you what i want to make clear to

972
00:34:16.880 --> 00:34:18.160
you is how

973
00:34:18.160 --> 00:34:20.240
um the light and shadow fall across the

974
00:34:20.240 --> 00:34:22.319
face and what we're looking for with

975
00:34:22.319 --> 00:34:24.400
these shapes of

976
00:34:24.400 --> 00:34:25.520
dark

977
00:34:25.520 --> 00:34:28.240
that that tracks through the face so

978
00:34:28.240 --> 00:34:29.760
when you've got the light coming from

979
00:34:29.760 --> 00:34:33.440
one side as an as a plane turns away

980
00:34:33.440 --> 00:34:35.839
it's the lights dispersing out

981
00:34:35.839 --> 00:34:37.440
differently and we're getting a very

982
00:34:37.440 --> 00:34:40.480
illuminated side here going into a

983
00:34:40.480 --> 00:34:43.359
mid-tone and coming into the shadow

984
00:34:43.359 --> 00:34:45.359
note how the shadow side is more

985
00:34:45.359 --> 00:34:48.560
emphasized at the point at which it

986
00:34:48.560 --> 00:34:51.280
changes plain so particularly down the

987
00:34:51.280 --> 00:34:53.680
nose you're seeing how dark and this

988
00:34:53.680 --> 00:34:56.480
looks quite dark along this edge here

989
00:34:56.480 --> 00:34:58.560
this is what we get trying to

990
00:34:58.560 --> 00:35:01.599
capture a little bit with this um

991
00:35:01.599 --> 00:35:04.000
next well with the next drawing in

992
00:35:04.000 --> 00:35:06.400
particular but you have a look at three

993
00:35:06.400 --> 00:35:09.359
quarter poses

994
00:35:09.359 --> 00:35:10.079
yeah

995
00:35:10.079 --> 00:35:11.599
just trying to see

996
00:35:11.599 --> 00:35:12.960
these shapes

997
00:35:12.960 --> 00:35:14.560
of light and dark

998
00:35:14.560 --> 00:35:16.960
now the face isn't uh accrete it doesn't

999
00:35:16.960 --> 00:35:18.319
have strong

1000
00:35:18.319 --> 00:35:20.880
planar directions on it typically

1001
00:35:20.880 --> 00:35:23.920
they're all a little bit softer so if we

1002
00:35:23.920 --> 00:35:25.440
go um

1003
00:35:25.440 --> 00:35:27.280
to the next slide now i'll sort of

1004
00:35:27.280 --> 00:35:29.839
explain a little bit more about the

1005
00:35:29.839 --> 00:35:32.000
tonal contrast that are going to make

1006
00:35:32.000 --> 00:35:33.760
forms and volumes come forward for you

1007
00:35:33.760 --> 00:35:35.839
on the face

1008
00:35:35.839 --> 00:35:38.400
either thank you

1009
00:35:38.400 --> 00:35:41.119
so in this next slide you see a

1010
00:35:41.119 --> 00:35:44.720
sphere and a cube first off let's look

1011
00:35:44.720 --> 00:35:45.760
at those

1012
00:35:45.760 --> 00:35:49.200
so with a sphere you've got light that's

1013
00:35:49.200 --> 00:35:52.480
occurring and a hot spot on it and then

1014
00:35:52.480 --> 00:35:53.680
you're getting

1015
00:35:53.680 --> 00:35:57.200
as the as the light shining down on the

1016
00:35:57.200 --> 00:35:58.560
the sphere

1017
00:35:58.560 --> 00:36:00.880
it's only hitting one surface hitting

1018
00:36:00.880 --> 00:36:02.640
the part that's up

1019
00:36:02.640 --> 00:36:05.119
that's proudest first

1020
00:36:05.119 --> 00:36:06.640
and then

1021
00:36:06.640 --> 00:36:10.000
going into the undercut all that as

1022
00:36:10.000 --> 00:36:12.400
the planes of the sphere turn away from

1023
00:36:12.400 --> 00:36:14.079
the light source you're getting the

1024
00:36:14.079 --> 00:36:15.040
shadow

1025
00:36:15.040 --> 00:36:17.520
it's going to be strongest at the

1026
00:36:17.520 --> 00:36:19.280
part where it's turning most

1027
00:36:19.280 --> 00:36:21.520
dramatically and there's a little bit of

1028
00:36:21.520 --> 00:36:24.240
often reflected light so if you think of

1029
00:36:24.240 --> 00:36:27.119
your face as a sphere or with spheres

1030
00:36:27.119 --> 00:36:29.599
within it this information about how

1031
00:36:29.599 --> 00:36:31.359
light and dark works across spheres can

1032
00:36:31.359 --> 00:36:32.400
be helpful

1033
00:36:32.400 --> 00:36:34.319
can help you when you're thinking about

1034
00:36:34.319 --> 00:36:37.040
the eye and eye socket or the mouth

1035
00:36:37.040 --> 00:36:38.720
these sorts of things

1036
00:36:38.720 --> 00:36:41.119
so if you look at the

1037
00:36:41.119 --> 00:36:42.160
cube

1038
00:36:42.160 --> 00:36:43.359
however

1039
00:36:43.359 --> 00:36:45.839
when there's a dramatic change in

1040
00:36:45.839 --> 00:36:47.040
playing

1041
00:36:47.040 --> 00:36:49.599
to get a corner to register on a 2d

1042
00:36:49.599 --> 00:36:52.319
sheet of paper what you really need

1043
00:36:52.319 --> 00:36:56.640
is you need that drama at the point of

1044
00:36:56.640 --> 00:36:57.920
the crease

1045
00:36:57.920 --> 00:37:00.640
so on the dark side it gets darker

1046
00:37:00.640 --> 00:37:04.480
towards the edge where it's turning and

1047
00:37:04.480 --> 00:37:06.000
on the light side it's getting

1048
00:37:06.000 --> 00:37:08.720
absolutely lighter towards the edge as

1049
00:37:08.720 --> 00:37:11.359
well and that's why we tend to see any

1050
00:37:11.359 --> 00:37:13.760
outlines we think in outlines because

1051
00:37:13.760 --> 00:37:16.720
these are the ways that um

1052
00:37:16.720 --> 00:37:19.280
we experience light and shadow so when

1053
00:37:19.280 --> 00:37:21.119
we're drawing quarry what we're going to

1054
00:37:21.119 --> 00:37:23.920
be looking for is how that

1055
00:37:23.920 --> 00:37:26.640
chat where are the area where the plane

1056
00:37:26.640 --> 00:37:29.280
changes most dramatic

1057
00:37:29.280 --> 00:37:32.880
and we can use maybe the notions of the

1058
00:37:32.880 --> 00:37:36.000
sphere or the cube as we're drawing her

1059
00:37:36.000 --> 00:37:37.040
face

1060
00:37:37.040 --> 00:37:38.960
there's also um

1061
00:37:38.960 --> 00:37:41.200
the cylinder that you'll see on the

1062
00:37:41.200 --> 00:37:44.560
slide the cylinder has is like taking

1063
00:37:44.560 --> 00:37:46.400
the crease of the

1064
00:37:46.400 --> 00:37:50.400
the cube and just undoing it relaxing it

1065
00:37:50.400 --> 00:37:53.280
and as you relax it the light changes

1066
00:37:53.280 --> 00:37:55.200
all the the light and dark move further

1067
00:37:55.200 --> 00:37:57.839
away from each other you can do this for

1068
00:37:57.839 --> 00:38:00.720
yourself by just taking a piece of paper

1069
00:38:00.720 --> 00:38:03.839
and folding it seeing how the labels

1070
00:38:03.839 --> 00:38:05.920
work and dart works across it and then

1071
00:38:05.920 --> 00:38:08.160
put a crease down it not with your dirty

1072
00:38:08.160 --> 00:38:09.520
fingers because you won't notice that

1073
00:38:09.520 --> 00:38:12.079
anything then but you'll see that change

1074
00:38:12.079 --> 00:38:14.400
in the drama of the planes and that's

1075
00:38:14.400 --> 00:38:16.800
the sort of theory that we're using to

1076
00:38:16.800 --> 00:38:18.000
try and

1077
00:38:18.000 --> 00:38:20.720
draw her features out from the

1078
00:38:20.720 --> 00:38:22.880
from the shadows into the light using

1079
00:38:22.880 --> 00:38:26.160
that contrast using that clarity

1080
00:38:26.160 --> 00:38:28.240
okay so um

1081
00:38:28.240 --> 00:38:29.520
i think

1082
00:38:29.520 --> 00:38:31.599
where are we on to the next

1083
00:38:31.599 --> 00:38:34.000
slide

1084
00:38:34.000 --> 00:38:35.920
oh

1085
00:38:35.920 --> 00:38:38.480
yeah thank you on to the next slide

1086
00:38:38.480 --> 00:38:41.920
you'll see this um being played out with

1087
00:38:41.920 --> 00:38:45.040
the the eye look at how much of a sphere

1088
00:38:45.040 --> 00:38:48.960
it is and it's that sense of it turning

1089
00:38:48.960 --> 00:38:51.119
uh away from you or

1090
00:38:51.119 --> 00:38:53.280
when you look at the eye straight on

1091
00:38:53.280 --> 00:38:56.480
we've got a central line down the sphere

1092
00:38:56.480 --> 00:38:58.160
and you can see

1093
00:38:58.160 --> 00:38:59.760
how everything looks nice and full

1094
00:38:59.760 --> 00:39:02.640
around for the iris and the pupil

1095
00:39:02.640 --> 00:39:03.599
and

1096
00:39:03.599 --> 00:39:06.079
really an eye is just this ball like a

1097
00:39:06.079 --> 00:39:08.240
ping pong ball inside a socket it's a

1098
00:39:08.240 --> 00:39:11.280
bit like that not totally yeah

1099
00:39:11.280 --> 00:39:13.839
but it helps to think of it as when it

1100
00:39:13.839 --> 00:39:17.040
moves and turns a corner you're

1101
00:39:17.040 --> 00:39:20.400
as as the eye turns and rotates you're

1102
00:39:20.400 --> 00:39:22.480
seeing

1103
00:39:22.480 --> 00:39:24.800
no longer say on a three-quarter vision

1104
00:39:24.800 --> 00:39:27.520
can you see the tear duct anymore you

1105
00:39:27.520 --> 00:39:28.880
might just see

1106
00:39:28.880 --> 00:39:29.760
the

1107
00:39:29.760 --> 00:39:33.200
outer edges of the eye as it turns away

1108
00:39:33.200 --> 00:39:35.359
i'm showing some on that slide you can

1109
00:39:35.359 --> 00:39:38.000
see there's a beautiful uh reuben's

1110
00:39:38.000 --> 00:39:39.839
painting where you can see the fullness

1111
00:39:39.839 --> 00:39:42.079
of the eye and light and shadow just how

1112
00:39:42.079 --> 00:39:44.960
it's been held together so the fullness

1113
00:39:44.960 --> 00:39:47.599
is capturing the shadow underneath the

1114
00:39:47.599 --> 00:39:49.839
eye as well

1115
00:39:49.839 --> 00:39:53.440
underneath yeah making it feel really

1116
00:39:53.440 --> 00:39:56.880
properly nested into that socket

1117
00:39:56.880 --> 00:39:59.200
so this idea we'll look at a little bit

1118
00:39:59.200 --> 00:40:03.119
more notice when you turn the eye the

1119
00:40:03.119 --> 00:40:06.079
iris and the pupil are no longer totally

1120
00:40:06.079 --> 00:40:08.319
round but they're becoming oblique

1121
00:40:08.319 --> 00:40:10.480
they're turning and becoming

1122
00:40:10.480 --> 00:40:11.560
um

1123
00:40:11.560 --> 00:40:14.720
perspectively they're changing

1124
00:40:14.720 --> 00:40:18.319
okay so that's a little bit of an a note

1125
00:40:18.319 --> 00:40:20.960
and if we go down to the last slide i'm

1126
00:40:20.960 --> 00:40:24.319
showing you on the powerpoints

1127
00:40:24.400 --> 00:40:28.079
this this slide is about looking for

1128
00:40:28.079 --> 00:40:31.040
those same ideas of the sphere and the

1129
00:40:31.040 --> 00:40:31.920
the

1130
00:40:31.920 --> 00:40:35.520
cube the same ideas even of the cylinder

1131
00:40:35.520 --> 00:40:36.880
in the

1132
00:40:36.880 --> 00:40:38.640
mouth and the nose

1133
00:40:38.640 --> 00:40:40.960
so in the first one of the mouth

1134
00:40:40.960 --> 00:40:43.119
if you're looking thinking about the

1135
00:40:43.119 --> 00:40:45.599
mouth often when you draw just the lips

1136
00:40:45.599 --> 00:40:47.599
straight on looks a little bit like

1137
00:40:47.599 --> 00:40:48.880
they've been

1138
00:40:48.880 --> 00:40:51.920
plastered on you want to get the volumes

1139
00:40:51.920 --> 00:40:54.640
into it so you're looking at how

1140
00:40:54.640 --> 00:40:56.800
what is beneath the lips is the

1141
00:40:56.800 --> 00:40:59.760
structure of your teeth and gums

1142
00:40:59.760 --> 00:41:01.920
whole holding it in and so it's a little

1143
00:41:01.920 --> 00:41:03.839
bit more of a fullness

1144
00:41:03.839 --> 00:41:06.640
and you can see me drawing a bit of a

1145
00:41:06.640 --> 00:41:08.800
circle around the lips

1146
00:41:08.800 --> 00:41:10.880
finding that center point again because

1147
00:41:10.880 --> 00:41:12.880
the center point helps me to think about

1148
00:41:12.880 --> 00:41:14.880
where i'm turning how everything's

1149
00:41:14.880 --> 00:41:16.560
turning in unison

1150
00:41:16.560 --> 00:41:19.599
on the face down the central line

1151
00:41:19.599 --> 00:41:22.240
so now with a three-quarter view of the

1152
00:41:22.240 --> 00:41:25.599
mouth you're seeing how

1153
00:41:25.599 --> 00:41:28.400
you can only really see one corner of

1154
00:41:28.400 --> 00:41:30.319
the mouth now

1155
00:41:30.319 --> 00:41:32.800
it's it's just turned away from you the

1156
00:41:32.800 --> 00:41:34.960
other corner

1157
00:41:34.960 --> 00:41:36.800
a lot of people talk about noses as

1158
00:41:36.800 --> 00:41:39.200
being really difficult to think about in

1159
00:41:39.200 --> 00:41:40.400
drawing

1160
00:41:40.400 --> 00:41:42.960
particularly how to draw them front on

1161
00:41:42.960 --> 00:41:43.920
and

1162
00:41:43.920 --> 00:41:45.119
so in this

1163
00:41:45.119 --> 00:41:46.640
in these little sketches i'm just

1164
00:41:46.640 --> 00:41:48.559
showing you

1165
00:41:48.559 --> 00:41:50.720
uh the planes how you can think of this

1166
00:41:50.720 --> 00:41:54.079
internal geometry to help you understand

1167
00:41:54.079 --> 00:41:56.400
that the planes of the nose whether it's

1168
00:41:56.400 --> 00:41:58.240
slightly tilted up

1169
00:41:58.240 --> 00:42:01.200
and you you'll just get a sense of

1170
00:42:01.200 --> 00:42:03.280
where is it underneath what's on the

1171
00:42:03.280 --> 00:42:05.760
side what's on the top

1172
00:42:05.760 --> 00:42:08.559
i do recommend you touch your nose feel

1173
00:42:08.559 --> 00:42:09.839
it and

1174
00:42:09.839 --> 00:42:12.319
not maybe the chuckle fingers but

1175
00:42:12.319 --> 00:42:15.040
become really aware that when your hand

1176
00:42:15.040 --> 00:42:17.520
lays flat against one side it's

1177
00:42:17.520 --> 00:42:19.920
describing a plane so you can really get

1178
00:42:19.920 --> 00:42:21.119
this

1179
00:42:21.119 --> 00:42:23.359
beautiful sense of volume

1180
00:42:23.359 --> 00:42:25.760
and there's another example of it

1181
00:42:25.760 --> 00:42:28.960
looking down and looking to report it so

1182
00:42:28.960 --> 00:42:31.440
these are just to get to another way of

1183
00:42:31.440 --> 00:42:34.160
thinking about drawing your this is what

1184
00:42:34.160 --> 00:42:37.119
i call internal geometry a bit different

1185
00:42:37.119 --> 00:42:39.599
from the way i started my first drawing

1186
00:42:39.599 --> 00:42:42.160
with the shapes but i think it's going

1187
00:42:42.160 --> 00:42:43.599
to help so

1188
00:42:43.599 --> 00:42:45.599
we put it in there as well and it's

1189
00:42:45.599 --> 00:42:47.839
going to help you thinking about how you

1190
00:42:47.839 --> 00:42:50.160
want to emphasize the whole head as a

1191
00:42:50.160 --> 00:42:52.960
sculptural form and the features within

1192
00:42:52.960 --> 00:42:54.800
it sculpturally

1193
00:42:54.800 --> 00:42:57.359
all right i think if you're all good and

1194
00:42:57.359 --> 00:42:59.599
you're charged up we're ready for corey

1195
00:42:59.599 --> 00:43:02.319
to return come back and have our next

1196
00:43:02.319 --> 00:43:05.359
pose which is going to be cory and three

1197
00:43:05.359 --> 00:43:07.200
quarter which helps

1198
00:43:07.200 --> 00:43:08.960
helps to think about what we've just

1199
00:43:08.960 --> 00:43:11.200
been looking at

1200
00:43:11.200 --> 00:43:14.400
is everyone good to go

1201
00:43:14.400 --> 00:43:16.079
i think so

1202
00:43:16.079 --> 00:43:17.200
okay

1203
00:43:17.200 --> 00:43:19.920
make note of the time

1204
00:43:19.920 --> 00:43:22.079
yeah it's uh

1205
00:43:22.079 --> 00:43:24.000
right on time to start

1206
00:43:24.000 --> 00:43:26.000
so once again

1207
00:43:26.000 --> 00:43:28.640
thinking of that myopic child walking

1208
00:43:28.640 --> 00:43:30.400
the streets of new york wondering which

1209
00:43:30.400 --> 00:43:31.440
on earth

1210
00:43:31.440 --> 00:43:33.760
where are my parents i'm starting to

1211
00:43:33.760 --> 00:43:36.160
look for these wonderful shapes on

1212
00:43:36.160 --> 00:43:37.920
corey's forehead

1213
00:43:37.920 --> 00:43:40.880
i can see some shadows across the top of

1214
00:43:40.880 --> 00:43:43.280
the forehead

1215
00:43:43.280 --> 00:43:45.839
and i can think about

1216
00:43:45.839 --> 00:43:49.920
using my pelts lightly and then heavily

1217
00:43:49.920 --> 00:43:51.359
i'm going to have a little look at your

1218
00:43:51.359 --> 00:43:53.599
drawings in a little while and see how

1219
00:43:53.599 --> 00:43:55.839
how you've all gone with this so the

1220
00:43:55.839 --> 00:43:58.800
shadow into the eye this is like that

1221
00:43:58.800 --> 00:44:02.720
idea of that the head is a sphere

1222
00:44:02.720 --> 00:44:04.240
looking down

1223
00:44:04.240 --> 00:44:06.800
if how do i understand the measure the

1224
00:44:06.800 --> 00:44:09.680
shapes well notice how the nose crops

1225
00:44:09.680 --> 00:44:12.240
into this side of the face and there's a

1226
00:44:12.240 --> 00:44:14.960
little triangle i've captured in there

1227
00:44:14.960 --> 00:44:16.640
and if you can see that on cory that's

1228
00:44:16.640 --> 00:44:18.079
what i'm looking for

1229
00:44:18.079 --> 00:44:20.800
notice also how her eyes are turning

1230
00:44:20.800 --> 00:44:21.839
slightly

1231
00:44:21.839 --> 00:44:22.880
um

1232
00:44:22.880 --> 00:44:25.440
down at the edges so there's that curve

1233
00:44:25.440 --> 00:44:26.839
that i spoke about

1234
00:44:26.839 --> 00:44:30.720
before curving down not just straight on

1235
00:44:30.720 --> 00:44:32.160
camping down

1236
00:44:32.160 --> 00:44:33.359
the shadow

1237
00:44:33.359 --> 00:44:34.960
moves in

1238
00:44:34.960 --> 00:44:37.119
all down this side of the face pretty

1239
00:44:37.119 --> 00:44:38.400
much so

1240
00:44:38.400 --> 00:44:40.400
there's a little bit of moment of light

1241
00:44:40.400 --> 00:44:42.000
in there but i can bring that back

1242
00:44:42.000 --> 00:44:44.160
because i'm going for generals

1243
00:44:44.160 --> 00:44:47.040
areas um i'm going to

1244
00:44:47.040 --> 00:44:49.599
felt like danger will smith so i move

1245
00:44:49.599 --> 00:44:52.800
away from when i'm unsure of my edge and

1246
00:44:52.800 --> 00:44:54.880
i come back across the bridge of the

1247
00:44:54.880 --> 00:44:56.640
nose where it's light

1248
00:44:56.640 --> 00:44:59.119
push a bit in to the side

1249
00:44:59.119 --> 00:45:02.000
trying to find

1250
00:45:03.119 --> 00:45:06.079
trying to find my position here i'm also

1251
00:45:06.079 --> 00:45:07.920
noticing underneath the nose a little

1252
00:45:07.920 --> 00:45:11.040
bit of that curve again this curve

1253
00:45:11.040 --> 00:45:13.680
nostrils up into here

1254
00:45:13.680 --> 00:45:14.720
so

1255
00:45:14.720 --> 00:45:17.200
i can feel the shadow down

1256
00:45:17.200 --> 00:45:19.680
the side of the mouth and really see

1257
00:45:19.680 --> 00:45:21.119
that curve

1258
00:45:21.119 --> 00:45:24.240
you see the shadow on here stronger with

1259
00:45:24.240 --> 00:45:25.680
flattening out

1260
00:45:25.680 --> 00:45:28.000
that little dimple

1261
00:45:28.000 --> 00:45:29.920
under the nose then

1262
00:45:29.920 --> 00:45:31.839
back into the crease

1263
00:45:31.839 --> 00:45:33.280
look at the lips

1264
00:45:33.280 --> 00:45:34.640
now we're going to watch they're on a

1265
00:45:34.640 --> 00:45:36.240
slight angle

1266
00:45:36.240 --> 00:45:39.240
um

1267
00:45:39.920 --> 00:45:44.000
tilt into the shadows a little bit

1268
00:45:44.640 --> 00:45:47.680
the pounce is such a a broad tool you

1269
00:45:47.680 --> 00:45:50.000
can't really be too fussed about it at

1270
00:45:50.000 --> 00:45:51.119
this point

1271
00:45:51.119 --> 00:45:55.280
let's look at that chin line

1272
00:45:57.680 --> 00:45:58.880
so

1273
00:45:58.880 --> 00:46:01.760
i don't like just going down

1274
00:46:01.760 --> 00:46:03.599
it's a really um

1275
00:46:03.599 --> 00:46:05.359
it's a way to get out of proportion so

1276
00:46:05.359 --> 00:46:07.680
what i'll do is return to my starting

1277
00:46:07.680 --> 00:46:10.480
point re-familiarize myself with my

1278
00:46:10.480 --> 00:46:11.280
um

1279
00:46:11.280 --> 00:46:12.640
shapes and my

1280
00:46:12.640 --> 00:46:14.559
perspective

1281
00:46:14.559 --> 00:46:17.440
try and push in so you you have a home

1282
00:46:17.440 --> 00:46:19.359
point i think i

1283
00:46:19.359 --> 00:46:21.280
refer to my students as

1284
00:46:21.280 --> 00:46:22.400
if i'm

1285
00:46:22.400 --> 00:46:24.400
drawing like this it's a bit like i'm in

1286
00:46:24.400 --> 00:46:26.319
a

1287
00:46:26.319 --> 00:46:28.480
desert and

1288
00:46:28.480 --> 00:46:30.640
i've been dropped off

1289
00:46:30.640 --> 00:46:33.200
on landmarks i have to find

1290
00:46:33.200 --> 00:46:35.280
points of familiarity and i have to

1291
00:46:35.280 --> 00:46:37.680
track and be really aware that once i've

1292
00:46:37.680 --> 00:46:39.040
gone through one

1293
00:46:39.040 --> 00:46:39.920
shape

1294
00:46:39.920 --> 00:46:43.599
i'm moving across into another that i'm

1295
00:46:43.599 --> 00:46:46.559
feeling my way across

1296
00:46:46.559 --> 00:46:49.359
as if i'm as if i'm

1297
00:46:49.359 --> 00:46:51.040
trying to find landmarks that will

1298
00:46:51.040 --> 00:46:53.440
secure some sense of certainty or some

1299
00:46:53.440 --> 00:46:55.440
sense of where i

1300
00:46:55.440 --> 00:46:58.319
where i need to be

1301
00:46:58.880 --> 00:47:01.760
and yes you can get lost

1302
00:47:01.760 --> 00:47:03.359
but it doesn't matter

1303
00:47:03.359 --> 00:47:05.359
it's just drawing

1304
00:47:05.359 --> 00:47:08.319
you're not really in the desert

1305
00:47:08.319 --> 00:47:11.920
um and and the other thing is

1306
00:47:11.920 --> 00:47:14.559
yeah you you just giving yourself this

1307
00:47:14.559 --> 00:47:16.400
opportunity to

1308
00:47:16.400 --> 00:47:18.319
to explore someone else's face which is

1309
00:47:18.319 --> 00:47:20.480
a beautiful privilege

1310
00:47:20.480 --> 00:47:23.280
because often when we stare at people

1311
00:47:23.280 --> 00:47:25.040
they get uncomfortable and they wonder

1312
00:47:25.040 --> 00:47:27.440
what we're after and what they want and

1313
00:47:27.440 --> 00:47:31.760
life models give this incredible um

1314
00:47:31.760 --> 00:47:33.440
gift to us all of

1315
00:47:33.440 --> 00:47:35.599
allowing us to commune with a human

1316
00:47:35.599 --> 00:47:39.040
being another stranger another person

1317
00:47:39.040 --> 00:47:40.880
and to

1318
00:47:40.880 --> 00:47:41.680
just

1319
00:47:41.680 --> 00:47:44.800
just be just to look at someone

1320
00:47:44.800 --> 00:47:47.599
to feel connected

1321
00:47:47.599 --> 00:47:51.119
so it's a really beautiful thing

1322
00:47:51.760 --> 00:47:55.839
um now is your palace running out of

1323
00:47:55.839 --> 00:47:59.520
because if it is you can if you if you

1324
00:47:59.520 --> 00:48:02.000
if you need to stock up having a little

1325
00:48:02.000 --> 00:48:04.720
bit of extra powder charcoal around

1326
00:48:04.720 --> 00:48:07.520
to give you a little bit more

1327
00:48:07.520 --> 00:48:09.920
body to your drawing that's fine

1328
00:48:09.920 --> 00:48:13.040
mine just needed a slightly different

1329
00:48:13.040 --> 00:48:15.839
angle to pick up on

1330
00:48:15.839 --> 00:48:17.760
so i'm using the

1331
00:48:17.760 --> 00:48:20.480
the hair now to help frame the face and

1332
00:48:20.480 --> 00:48:22.240
you can see there's a light

1333
00:48:22.240 --> 00:48:25.040
passage a bit of reflected light hitting

1334
00:48:25.040 --> 00:48:25.760
off

1335
00:48:25.760 --> 00:48:27.920
on the shadow side and this is commonly

1336
00:48:27.920 --> 00:48:30.160
what helps to turn the face and give it

1337
00:48:30.160 --> 00:48:32.800
its volume that not only is it on the

1338
00:48:32.800 --> 00:48:35.280
dark side but there'll be as it turns

1339
00:48:35.280 --> 00:48:38.240
around reflecting a little bit of light

1340
00:48:38.240 --> 00:48:41.040
kicking up on the

1341
00:48:41.040 --> 00:48:43.440
um from the wall and that's going to

1342
00:48:43.440 --> 00:48:45.760
push her lips back a bit should stop

1343
00:48:45.760 --> 00:48:49.440
standing on the angle

1344
00:48:49.920 --> 00:48:52.920
okay

1345
00:48:55.599 --> 00:48:58.799
okay so we have

1346
00:48:58.799 --> 00:49:00.640
if you're trying to get into smaller

1347
00:49:00.640 --> 00:49:02.240
bits with your palettes you might find

1348
00:49:02.240 --> 00:49:04.480
that you can just occasionally pinch

1349
00:49:04.480 --> 00:49:05.520
into it

1350
00:49:05.520 --> 00:49:07.599
and

1351
00:49:07.599 --> 00:49:11.520
make it make it behave in a finer way or

1352
00:49:11.520 --> 00:49:12.640
just

1353
00:49:12.640 --> 00:49:16.240
just push it a little bit more

1354
00:49:19.280 --> 00:49:23.119
all these shapes around

1355
00:49:23.119 --> 00:49:25.359
the main features it's like the main

1356
00:49:25.359 --> 00:49:27.359
features aren't just the only part

1357
00:49:27.359 --> 00:49:29.839
they're not the most identifying part of

1358
00:49:29.839 --> 00:49:32.160
a person's face it's

1359
00:49:32.160 --> 00:49:33.760
it's a lot

1360
00:49:33.760 --> 00:49:37.839
a lot about what makes someone unique is

1361
00:49:37.839 --> 00:49:40.559
how different their shapes are to other

1362
00:49:40.559 --> 00:49:41.839
people

1363
00:49:41.839 --> 00:49:44.000
we want to get this

1364
00:49:44.000 --> 00:49:48.440
extra curve into here

1365
00:50:05.359 --> 00:50:07.760
notice that the ear feels like it's in a

1366
00:50:07.760 --> 00:50:09.440
slightly different position when you're

1367
00:50:09.440 --> 00:50:11.040
looking

1368
00:50:11.040 --> 00:50:12.079
um

1369
00:50:12.079 --> 00:50:13.760
up at the figure when the head's turned

1370
00:50:13.760 --> 00:50:16.480
out so this idea of saying where

1371
00:50:16.480 --> 00:50:18.960
features are all the time and sort of as

1372
00:50:18.960 --> 00:50:19.920
if they're

1373
00:50:19.920 --> 00:50:21.599
as if you're always looking at a figure

1374
00:50:21.599 --> 00:50:23.520
in the same relationship

1375
00:50:23.520 --> 00:50:24.480
um

1376
00:50:24.480 --> 00:50:27.200
or perspective or point of view is it's

1377
00:50:27.200 --> 00:50:28.559
not useful

1378
00:50:28.559 --> 00:50:29.359
i

1379
00:50:29.359 --> 00:50:34.000
highly recommend trusting your eyes um

1380
00:50:34.000 --> 00:50:36.079
just

1381
00:50:36.079 --> 00:50:37.839
okay so i want to get

1382
00:50:37.839 --> 00:50:39.599
this is this a sort of alignment that

1383
00:50:39.599 --> 00:50:42.240
i'm trying to get have a look at making

1384
00:50:42.240 --> 00:50:44.720
sure that when things

1385
00:50:44.720 --> 00:50:46.079
you know when we talked about that

1386
00:50:46.079 --> 00:50:48.079
center line through the face moving to

1387
00:50:48.079 --> 00:50:49.839
be in the three-quarter that you're

1388
00:50:49.839 --> 00:50:54.280
still tracking that somehow

1389
00:51:00.640 --> 00:51:02.480
you know you can also play with your

1390
00:51:02.480 --> 00:51:04.640
palettes in the composition and come

1391
00:51:04.640 --> 00:51:07.040
around

1392
00:51:08.880 --> 00:51:10.400
bringing more

1393
00:51:10.400 --> 00:51:14.280
emphasis into it

1394
00:51:16.079 --> 00:51:18.799
and even do the shadow on the wall

1395
00:51:18.799 --> 00:51:21.359
how are we going for time gel

1396
00:51:21.359 --> 00:51:26.319
uh we are now 10 nearly 10 minutes in

1397
00:51:26.319 --> 00:51:27.280
okay

1398
00:51:27.280 --> 00:51:29.200
about eight minutes in sorry

1399
00:51:29.200 --> 00:51:33.920
that's fine um i work quite fast i don't

1400
00:51:33.920 --> 00:51:36.559
so i hope everyone's finding that they

1401
00:51:36.559 --> 00:51:38.480
can be really broad and work quite

1402
00:51:38.480 --> 00:51:41.440
quickly it's that idea that you're not

1403
00:51:41.440 --> 00:51:43.359
overthinking anything too and that

1404
00:51:43.359 --> 00:51:45.760
you're trying to just

1405
00:51:45.760 --> 00:51:48.319
go through flow flow through things

1406
00:51:48.319 --> 00:51:50.640
quite smoothly

1407
00:51:50.640 --> 00:51:54.480
okay so a really important point at this

1408
00:51:54.480 --> 00:51:57.359
idea is to step back and just have a

1409
00:51:57.359 --> 00:51:59.200
little look at how it's all

1410
00:51:59.200 --> 00:52:01.599
coming together have you got that sense

1411
00:52:01.599 --> 00:52:03.920
of the three-quarter what would make it

1412
00:52:03.920 --> 00:52:06.160
work a little bit more for you

1413
00:52:06.160 --> 00:52:08.000
so let's see

1414
00:52:08.000 --> 00:52:10.079
what could i do to make that a bit

1415
00:52:10.079 --> 00:52:12.559
stronger well i would look at

1416
00:52:12.559 --> 00:52:13.680
that

1417
00:52:13.680 --> 00:52:15.680
intersection there to get where the nose

1418
00:52:15.680 --> 00:52:19.680
is just watch the tilt a bit more

1419
00:52:19.680 --> 00:52:21.680
i'm looking for that in the stuff i

1420
00:52:21.680 --> 00:52:23.119
mentioned to you in the internal

1421
00:52:23.119 --> 00:52:25.040
geometry i just want to track it and i'm

1422
00:52:25.040 --> 00:52:27.119
being really quite brutal forcing the

1423
00:52:27.119 --> 00:52:32.079
drawing to be where i want it a bit more

1424
00:52:33.200 --> 00:52:36.000
and look at that angle there i've missed

1425
00:52:36.000 --> 00:52:39.720
let me get that in

1426
00:52:40.720 --> 00:52:42.960
all right i think this is about the time

1427
00:52:42.960 --> 00:52:44.720
i might come back in

1428
00:52:44.720 --> 00:52:45.760
um

1429
00:52:45.760 --> 00:52:46.559
with

1430
00:52:46.559 --> 00:52:48.400
the willow charcoal and have a little

1431
00:52:48.400 --> 00:52:51.599
look then even with the eraser giving

1432
00:52:51.599 --> 00:52:53.599
giving the drawing just a little bit

1433
00:52:53.599 --> 00:52:54.559
more

1434
00:52:54.559 --> 00:52:55.520
um

1435
00:52:55.520 --> 00:52:57.599
structure or clarity

1436
00:52:57.599 --> 00:52:58.640
well sorry

1437
00:52:58.640 --> 00:53:00.400
up to lisa but that reminded me um

1438
00:53:00.400 --> 00:53:02.559
somebody in zoom asked earlier what kind

1439
00:53:02.559 --> 00:53:04.720
of eraser you use

1440
00:53:04.720 --> 00:53:07.920
uh look i normally

1441
00:53:07.920 --> 00:53:09.280
like using

1442
00:53:09.280 --> 00:53:12.640
gum erasers but um this one i've got

1443
00:53:12.640 --> 00:53:15.040
seems to have become a little old

1444
00:53:15.040 --> 00:53:17.920
and i'm happy happy just using

1445
00:53:17.920 --> 00:53:19.119
the

1446
00:53:19.119 --> 00:53:21.839
normal erasers these plastic erasers

1447
00:53:21.839 --> 00:53:24.079
some erasers leave an oily

1448
00:53:24.079 --> 00:53:25.440
trace in

1449
00:53:25.440 --> 00:53:28.240
on your drawing and that's annoying but

1450
00:53:28.240 --> 00:53:30.079
if you've got enough

1451
00:53:30.079 --> 00:53:33.040
powdered chocolate all over it um it

1452
00:53:33.040 --> 00:53:34.400
shouldn't it should just take off

1453
00:53:34.400 --> 00:53:38.160
without leaving uh a trail behind but

1454
00:53:38.160 --> 00:53:39.599
look it's

1455
00:53:39.599 --> 00:53:41.520
if if you're rubbing

1456
00:53:41.520 --> 00:53:43.680
and you feel like it's left a brute it's

1457
00:53:43.680 --> 00:53:46.480
bruised and picked up the

1458
00:53:46.480 --> 00:53:48.960
charcoal sometimes it does that

1459
00:53:48.960 --> 00:53:51.200
see how it just can see that that's the

1460
00:53:51.200 --> 00:53:53.520
plastic rubber picking up a little bit

1461
00:53:53.520 --> 00:53:56.559
of the charcoal and making it darker

1462
00:53:56.559 --> 00:53:57.920
um

1463
00:53:57.920 --> 00:54:00.079
it is a little annoying but

1464
00:54:00.079 --> 00:54:03.280
yeah so i do like a kneadable eraser

1465
00:54:03.280 --> 00:54:07.760
would be good i didn't have one um

1466
00:54:08.240 --> 00:54:10.880
and yeah i do i do tend to like gum

1467
00:54:10.880 --> 00:54:13.359
erasers but don't leave them near your

1468
00:54:13.359 --> 00:54:16.680
oil paints

1469
00:54:20.400 --> 00:54:23.200
not every not every material likes a bit

1470
00:54:23.200 --> 00:54:25.440
of oil paint

1471
00:54:25.440 --> 00:54:27.280
so i'm going

1472
00:54:27.280 --> 00:54:29.680
if your eraser gets too clogged up with

1473
00:54:29.680 --> 00:54:31.520
stuff and

1474
00:54:31.520 --> 00:54:33.760
you can have a little bit of sandpaper

1475
00:54:33.760 --> 00:54:36.000
or a rough wall around

1476
00:54:36.000 --> 00:54:38.319
excuse me everyone

1477
00:54:38.319 --> 00:54:39.599
you just

1478
00:54:39.599 --> 00:54:42.400
can clean it up a little on your wall

1479
00:54:42.400 --> 00:54:43.920
i'm pretty sure that's what might i have

1480
00:54:43.920 --> 00:54:46.880
to do in my children draw on the walls

1481
00:54:46.880 --> 00:54:48.400
clean the razors

1482
00:54:48.400 --> 00:54:50.720
yeah that's right now if you notice i'm

1483
00:54:50.720 --> 00:54:53.680
coming down the edge of the nose not the

1484
00:54:53.680 --> 00:54:55.440
not the i'm

1485
00:54:55.440 --> 00:54:57.680
trying to find that strong line just

1486
00:54:57.680 --> 00:55:01.040
like you would in a in a cube um

1487
00:55:01.040 --> 00:55:02.160
where

1488
00:55:02.160 --> 00:55:04.400
you're defining that plane on the nose

1489
00:55:04.400 --> 00:55:07.200
and it's not light all the way across

1490
00:55:07.200 --> 00:55:09.839
there's a bit of shadow so

1491
00:55:09.839 --> 00:55:13.359
yeah i'll just i'll get on to that later

1492
00:55:13.359 --> 00:55:16.400
so this idea of this internal geometry

1493
00:55:16.400 --> 00:55:18.880
keeping keeping thinking about where are

1494
00:55:18.880 --> 00:55:20.880
those lines how do i

1495
00:55:20.880 --> 00:55:24.160
describe this might be a bit more tilt

1496
00:55:24.160 --> 00:55:27.040
on this so we want to raise up

1497
00:55:27.040 --> 00:55:28.960
the eye

1498
00:55:28.960 --> 00:55:31.839
and the eyelid

1499
00:55:34.319 --> 00:55:36.799
notice the pupil i can see the tear duct

1500
00:55:36.799 --> 00:55:39.200
on this side of the eye i can see that

1501
00:55:39.200 --> 00:55:40.559
the

1502
00:55:40.559 --> 00:55:43.760
curve of the eye is

1503
00:55:43.760 --> 00:55:47.200
raised in the center a little there

1504
00:55:47.200 --> 00:55:48.960
coming across

1505
00:55:48.960 --> 00:55:51.040
there's the highlight measure across

1506
00:55:51.040 --> 00:55:53.920
feel the top of the nose and here i need

1507
00:55:53.920 --> 00:55:55.440
to have the

1508
00:55:55.440 --> 00:55:56.480
eye

1509
00:55:56.480 --> 00:55:57.599
this side

1510
00:55:57.599 --> 00:56:01.200
closer in to the nose to make it work

1511
00:56:01.200 --> 00:56:01.920
so

1512
00:56:01.920 --> 00:56:04.400
the nose itself the

1513
00:56:04.400 --> 00:56:06.799
bridge of the nose is obscuring the tear

1514
00:56:06.799 --> 00:56:09.440
duct from my vision and therefore i got

1515
00:56:09.440 --> 00:56:12.400
i've got to just assume that it's behind

1516
00:56:12.400 --> 00:56:16.000
popped in behind that bridge

1517
00:56:16.160 --> 00:56:19.200
and it's turning

1518
00:56:21.119 --> 00:56:23.200
keep keep looking at things as shapes

1519
00:56:23.200 --> 00:56:24.880
you might find that i've even made

1520
00:56:24.880 --> 00:56:27.359
overstated

1521
00:56:27.359 --> 00:56:30.960
overstated that a little bit

1522
00:56:31.760 --> 00:56:33.760
yeah look now the side of the face needs

1523
00:56:33.760 --> 00:56:36.079
to come in closer

1524
00:56:36.079 --> 00:56:39.359
so i'll just adjust it

1525
00:56:41.359 --> 00:56:43.599
i love when you get this um

1526
00:56:43.599 --> 00:56:48.559
real landmark here with the brow ridge

1527
00:56:48.559 --> 00:56:50.640
bending in

1528
00:56:50.640 --> 00:56:53.119
showing how much of a veranda the brow

1529
00:56:53.119 --> 00:56:54.799
is for the eyes

1530
00:56:54.799 --> 00:56:57.839
overhanging then protecting that soft

1531
00:56:57.839 --> 00:56:59.680
organ from damage

1532
00:56:59.680 --> 00:57:02.559
now i can see how much more i need to

1533
00:57:02.559 --> 00:57:04.559
pull in the angle

1534
00:57:04.559 --> 00:57:07.440
the other thing i use a lot is you know

1535
00:57:07.440 --> 00:57:09.760
straight lines to help me see

1536
00:57:09.760 --> 00:57:12.880
the drama of forms so

1537
00:57:12.880 --> 00:57:13.920
you know

1538
00:57:13.920 --> 00:57:17.359
a straight line down here

1539
00:57:17.359 --> 00:57:19.200
just helps me see how much i need to

1540
00:57:19.200 --> 00:57:20.319
move

1541
00:57:20.319 --> 00:57:22.880
to get that angle of her face going away

1542
00:57:22.880 --> 00:57:24.880
now i'm going to go back into just

1543
00:57:24.880 --> 00:57:27.440
sketching looking okay from here this

1544
00:57:27.440 --> 00:57:29.520
little point where's the nose

1545
00:57:29.520 --> 00:57:32.520
registering

1546
00:57:36.559 --> 00:57:39.280
tilt the nostril

1547
00:57:39.280 --> 00:57:42.000
tilt on that there we go

1548
00:57:42.000 --> 00:57:46.359
get the tilt on the other nostril

1549
00:57:52.720 --> 00:57:55.680
and it just allowing me to now re

1550
00:57:55.680 --> 00:57:58.319
reposition things a bit more i want to

1551
00:57:58.319 --> 00:57:59.280
get this

1552
00:57:59.280 --> 00:58:02.319
the mouth up here now

1553
00:58:02.319 --> 00:58:05.200
find that curve

1554
00:58:05.200 --> 00:58:06.720
oops

1555
00:58:06.720 --> 00:58:08.559
yep there's another clean finger in the

1556
00:58:08.559 --> 00:58:10.960
house

1557
00:58:12.000 --> 00:58:15.119
and you know this is a really good point

1558
00:58:15.119 --> 00:58:17.680
too to feel your way out this becomes a

1559
00:58:17.680 --> 00:58:19.920
shape shape of light

1560
00:58:19.920 --> 00:58:23.359
is it too close yes probably let's

1561
00:58:23.359 --> 00:58:25.520
pull that down so i'm drawing with that

1562
00:58:25.520 --> 00:58:29.359
that eraser to to find that shape of um

1563
00:58:29.359 --> 00:58:30.319
light

1564
00:58:30.319 --> 00:58:32.160
above the lip

1565
00:58:32.160 --> 00:58:35.200
so yeah what's that shadow one look like

1566
00:58:35.200 --> 00:58:37.280
maybe i'll drop the

1567
00:58:37.280 --> 00:58:41.240
mouth down a bit more

1568
00:58:47.200 --> 00:58:48.559
finding that

1569
00:58:48.559 --> 00:58:51.119
distance

1570
00:58:53.599 --> 00:58:55.520
distance again

1571
00:58:55.520 --> 00:58:56.559
between

1572
00:58:56.559 --> 00:58:58.400
the two lips and look at the shadows i

1573
00:58:58.400 --> 00:59:00.720
need to pull into there

1574
00:59:00.720 --> 00:59:03.680
cross into here

1575
00:59:03.680 --> 00:59:05.760
keep that tilt up

1576
00:59:05.760 --> 00:59:08.559
with the lips the salt so all these have

1577
00:59:08.559 --> 00:59:10.960
to sort of agree and you'll get this

1578
00:59:10.960 --> 00:59:14.160
happening down here with the chin too so

1579
00:59:14.160 --> 00:59:17.359
wow that's getting now to the outline

1580
00:59:17.359 --> 00:59:19.760
and see how the outline takes a lot

1581
00:59:19.760 --> 00:59:21.599
longer to get to

1582
00:59:21.599 --> 00:59:23.599
i've got a lovely little bit of shadow

1583
00:59:23.599 --> 00:59:26.640
to pick up under here

1584
00:59:26.640 --> 00:59:30.680
shadow down this side

1585
00:59:40.160 --> 00:59:43.440
you feel your arms working guys

1586
00:59:43.440 --> 00:59:45.440
you can feel my arms starting to really

1587
00:59:45.440 --> 00:59:47.440
work in this

1588
00:59:47.440 --> 00:59:52.599
i'll just move that back a bit um okay

1589
00:59:54.720 --> 00:59:56.720
what happens to the eyebrows when you're

1590
00:59:56.720 --> 00:59:58.880
looking up too they do change their

1591
00:59:58.880 --> 01:00:00.720
shape a little bit as well so be just

1592
01:00:00.720 --> 01:00:02.240
attentive to

1593
01:00:02.240 --> 01:00:05.039
eyebrows are really interesting in

1594
01:00:05.039 --> 01:00:07.920
that where they peak usually is defining

1595
01:00:07.920 --> 01:00:09.760
that change of plane so that would tell

1596
01:00:09.760 --> 01:00:13.119
me yeah there's the fullest part of her

1597
01:00:13.119 --> 01:00:15.599
forehead is up around there i'm just

1598
01:00:15.599 --> 01:00:18.559
going to go back to this side and when

1599
01:00:18.559 --> 01:00:21.039
you've got the nose here a bit of a jump

1600
01:00:21.039 --> 01:00:24.079
over the start of the brow line is here

1601
01:00:24.079 --> 01:00:24.799
and

1602
01:00:24.799 --> 01:00:27.440
obscured as it turns around

1603
01:00:27.440 --> 01:00:29.359
the side of the face or the in that

1604
01:00:29.359 --> 01:00:31.280
three-quarter pose so

1605
01:00:31.280 --> 01:00:35.400
we'll just show the hair

1606
01:00:35.520 --> 01:00:38.799
coming out more here

1607
01:00:39.280 --> 01:00:40.559
and

1608
01:00:40.559 --> 01:00:42.559
are we going for time

1609
01:00:42.559 --> 01:00:43.440
uh

1610
01:00:43.440 --> 01:00:46.839
we are coming up to six minutes to

1611
01:00:46.839 --> 01:00:48.799
go it's

1612
01:00:48.799 --> 01:00:51.680
heaps of time

1613
01:00:52.000 --> 01:00:54.240
this is another point we really you know

1614
01:00:54.240 --> 01:00:56.319
you're you're measuring

1615
01:00:56.319 --> 01:00:59.359
how close is the edge of this face

1616
01:00:59.359 --> 01:01:02.960
to that hairline um

1617
01:01:02.960 --> 01:01:06.160
nice to see

1618
01:01:06.559 --> 01:01:10.480
here's cropping the ear a little

1619
01:01:11.039 --> 01:01:13.359
and i'm thinking in abstract shapes i

1620
01:01:13.359 --> 01:01:15.520
was saying to jill earlier when we were

1621
01:01:15.520 --> 01:01:16.880
talking about

1622
01:01:16.880 --> 01:01:18.000
this um

1623
01:01:18.000 --> 01:01:20.240
technique of i call it drawing by

1624
01:01:20.240 --> 01:01:22.720
connection because i'm connecting from

1625
01:01:22.720 --> 01:01:24.799
one thing to another i'm not

1626
01:01:24.799 --> 01:01:27.599
not just drawing one thing an eye and

1627
01:01:27.599 --> 01:01:29.760
then another eye then a nose and a mouth

1628
01:01:29.760 --> 01:01:32.640
not drawing in isolation i'm really just

1629
01:01:32.640 --> 01:01:34.880
doing a lot of networking and collect

1630
01:01:34.880 --> 01:01:36.240
connecting

1631
01:01:36.240 --> 01:01:39.200
um a bit like when i'm doing a crossword

1632
01:01:39.200 --> 01:01:40.640
puzzle i might

1633
01:01:40.640 --> 01:01:43.280
whatever clue i feel like i can answer i

1634
01:01:43.280 --> 01:01:45.520
answer that and then i so whatever i can

1635
01:01:45.520 --> 01:01:48.000
see clearly i work with and then the

1636
01:01:48.000 --> 01:01:51.200
next thing i move on to where

1637
01:01:51.200 --> 01:01:52.720
um

1638
01:01:52.720 --> 01:01:55.359
yeah where i can see i can go next so

1639
01:01:55.359 --> 01:01:56.960
it's a sort of

1640
01:01:56.960 --> 01:02:01.760
by answering one clue after another

1641
01:02:02.400 --> 01:02:05.200
not not just focusing on the nouns

1642
01:02:05.200 --> 01:02:07.680
though that's the other thing is these

1643
01:02:07.680 --> 01:02:09.839
shapes that we're looking for in the

1644
01:02:09.839 --> 01:02:11.119
face

1645
01:02:11.119 --> 01:02:14.240
other than the features of the face the

1646
01:02:14.240 --> 01:02:15.200
shape

1647
01:02:15.200 --> 01:02:15.920
of

1648
01:02:15.920 --> 01:02:16.799
of a

1649
01:02:16.799 --> 01:02:18.640
sort of a triangle shape here that

1650
01:02:18.640 --> 01:02:21.040
defines a little bit of the top of the

1651
01:02:21.040 --> 01:02:24.719
cheekbone or the shape of this

1652
01:02:24.719 --> 01:02:28.080
plane here it's it's you get used to

1653
01:02:28.080 --> 01:02:29.600
looking at this

1654
01:02:29.600 --> 01:02:31.600
these these shapes and trusting your

1655
01:02:31.600 --> 01:02:35.198
eyes to to see them and draw them

1656
01:02:35.198 --> 01:02:36.799
but you can't really name them and

1657
01:02:36.799 --> 01:02:38.960
they're very hard to describe

1658
01:02:38.960 --> 01:02:41.759
a shape to someone it's because we don't

1659
01:02:41.759 --> 01:02:44.080
have these words to describe it often

1660
01:02:44.080 --> 01:02:45.520
people think

1661
01:02:45.520 --> 01:02:47.198
well this is magic what you're doing

1662
01:02:47.198 --> 01:02:49.198
when you're drawing i think no it's just

1663
01:02:49.198 --> 01:02:51.359
it's really hard to describe what what

1664
01:02:51.359 --> 01:02:54.000
is the name for this shape that's making

1665
01:02:54.000 --> 01:02:56.000
that really work to

1666
01:02:56.000 --> 01:02:57.759
to get um

1667
01:02:57.759 --> 01:02:59.439
the proportions of

1668
01:02:59.439 --> 01:03:02.479
cory's features or of her chin there's

1669
01:03:02.479 --> 01:03:04.640
this shape here that's

1670
01:03:04.640 --> 01:03:08.560
can you all see it look at oh

1671
01:03:08.560 --> 01:03:11.198
i was looking at turning off the drawing

1672
01:03:11.198 --> 01:03:13.679
but look at how the highlight then

1673
01:03:13.679 --> 01:03:15.279
connects up

1674
01:03:15.279 --> 01:03:17.120
through the lips

1675
01:03:17.120 --> 01:03:18.719
through that lip

1676
01:03:18.719 --> 01:03:20.238
up through

1677
01:03:20.238 --> 01:03:23.279
the top of the mouth up into the top of

1678
01:03:23.279 --> 01:03:24.719
the nose

1679
01:03:24.719 --> 01:03:27.198
up through here you know just tracking

1680
01:03:27.198 --> 01:03:29.520
through it's really lovely thing to to

1681
01:03:29.520 --> 01:03:30.880
see

1682
01:03:30.880 --> 01:03:33.120
but there's shapes i'm following i'm

1683
01:03:33.120 --> 01:03:34.880
going to put a bit of a glint into her

1684
01:03:34.880 --> 01:03:37.520
eyes because she's got that lovely

1685
01:03:37.520 --> 01:03:38.960
smiley glint

1686
01:03:38.960 --> 01:03:40.880
even onto that side

1687
01:03:40.880 --> 01:03:42.719
and um

1688
01:03:42.719 --> 01:03:46.000
just pull back that highlight a little

1689
01:03:46.000 --> 01:03:49.359
across the face so now i can now i can

1690
01:03:49.359 --> 01:03:51.759
get to the edges of the face and

1691
01:03:51.759 --> 01:03:54.479
refine them and

1692
01:03:54.479 --> 01:03:57.520
draw them but i've located the features

1693
01:03:57.520 --> 01:03:59.199
in her face

1694
01:03:59.199 --> 01:04:02.320
sort of more where they belong

1695
01:04:02.320 --> 01:04:04.400
i haven't got enough of the shadow down

1696
01:04:04.400 --> 01:04:06.560
through here

1697
01:04:06.560 --> 01:04:08.320
so back to pelts

1698
01:04:08.320 --> 01:04:09.840
elisa we've just had a couple of

1699
01:04:09.840 --> 01:04:12.400
comments come through um from the zoom

1700
01:04:12.400 --> 01:04:14.960
audience one complimenting

1701
01:04:14.960 --> 01:04:17.600
um corey on being an amazing model but

1702
01:04:17.600 --> 01:04:18.719
there's another one that's just come

1703
01:04:18.719 --> 01:04:20.159
through that says elisa is the best

1704
01:04:20.159 --> 01:04:21.840
teacher thanks for the lovely comments

1705
01:04:21.840 --> 01:04:24.560
on models from an x model oh

1706
01:04:24.560 --> 01:04:25.600
beautiful

1707
01:04:25.600 --> 01:04:26.800
thank you

1708
01:04:26.800 --> 01:04:30.000
um we really do have to say that models

1709
01:04:30.000 --> 01:04:31.360
uh really

1710
01:04:31.360 --> 01:04:34.640
have to be valued and

1711
01:04:34.640 --> 01:04:36.800
it's such a it is such a generous thing

1712
01:04:36.800 --> 01:04:39.040
they do for us it is

1713
01:04:39.040 --> 01:04:41.840
it is giving of themselves uh to make to

1714
01:04:41.840 --> 01:04:43.600
make a work and often people focus on

1715
01:04:43.600 --> 01:04:46.719
the the artist and the artwork and

1716
01:04:46.719 --> 01:04:48.239
you know it's

1717
01:04:48.239 --> 01:04:49.840
don't forget there's

1718
01:04:49.840 --> 01:04:52.640
behind this there's people who are

1719
01:04:52.640 --> 01:04:54.640
giving of their time

1720
01:04:54.640 --> 01:04:56.800
just like in this production there's a

1721
01:04:56.800 --> 01:04:59.040
whole team of wonderful people who are

1722
01:04:59.040 --> 01:05:00.960
bringing their expertise

1723
01:05:00.960 --> 01:05:03.760
everyone has such incredible skills

1724
01:05:03.760 --> 01:05:06.640
and if we all work together

1725
01:05:06.640 --> 01:05:08.640
um

1726
01:05:08.640 --> 01:05:11.040
it it just comes together like magic

1727
01:05:11.040 --> 01:05:12.800
it's because everyone's giving of

1728
01:05:12.800 --> 01:05:15.840
themselves so so nicely

1729
01:05:15.840 --> 01:05:17.440
just like that drawings coming together

1730
01:05:17.440 --> 01:05:20.560
like myself it does and and this is what

1731
01:05:20.560 --> 01:05:23.360
i you know when i was a kid and i went

1732
01:05:23.360 --> 01:05:25.840
to manhattan and i'd saw all these

1733
01:05:25.840 --> 01:05:28.560
different faces i was amazed at the

1734
01:05:28.560 --> 01:05:31.520
variety of humanity remember i'd just

1735
01:05:31.520 --> 01:05:34.560
been in canberra playing up the bush and

1736
01:05:34.560 --> 01:05:36.480
drawing little things in

1737
01:05:36.480 --> 01:05:39.280
from my imagination and then to see

1738
01:05:39.280 --> 01:05:42.480
to go home and start to draw and i got

1739
01:05:42.480 --> 01:05:43.199
to

1740
01:05:43.199 --> 01:05:45.040
it's a little ego trick that only

1741
01:05:45.040 --> 01:05:46.719
eight-year-olds can have is that i

1742
01:05:46.719 --> 01:05:49.360
started to feel like oh i wonder if when

1743
01:05:49.360 --> 01:05:50.960
i go out tomorrow

1744
01:05:50.960 --> 01:05:53.440
i'll see the person i drew today

1745
01:05:53.440 --> 01:05:55.280
and

1746
01:05:55.280 --> 01:05:56.960
and that sounds around a rather

1747
01:05:56.960 --> 01:05:59.280
roundabout way but that that drawing at

1748
01:05:59.280 --> 01:06:02.719
home was i was focusing so much on

1749
01:06:02.719 --> 01:06:03.840
um

1750
01:06:03.840 --> 01:06:06.640
the variety and drawing different faces

1751
01:06:06.640 --> 01:06:09.120
and experimenting with these characters

1752
01:06:09.120 --> 01:06:12.320
i was constructing was so much fun

1753
01:06:12.320 --> 01:06:14.480
and how to entertain yourself

1754
01:06:14.480 --> 01:06:17.760
totally what wasn't fun was when i lost

1755
01:06:17.760 --> 01:06:19.360
my parents

1756
01:06:19.360 --> 01:06:21.280
in the crowd which happened quite

1757
01:06:21.280 --> 01:06:22.840
regularly

1758
01:06:22.840 --> 01:06:26.000
um but you know you're

1759
01:06:26.000 --> 01:06:28.080
you're learning to trust your eyes

1760
01:06:28.080 --> 01:06:31.040
in doing this as i've been reiterating

1761
01:06:31.040 --> 01:06:32.800
time and time again

1762
01:06:32.800 --> 01:06:34.239
and um

1763
01:06:34.239 --> 01:06:36.400
i think

1764
01:06:36.400 --> 01:06:39.360
there's a certain amount of fear

1765
01:06:39.360 --> 01:06:41.600
when you start a drawing that doesn't

1766
01:06:41.600 --> 01:06:43.840
have the certainty of the outline isn't

1767
01:06:43.840 --> 01:06:46.159
there there's this sort of like

1768
01:06:46.159 --> 01:06:48.159
and i i feel it even when i'm drawing in

1769
01:06:48.159 --> 01:06:50.159
front of you i'm thinking oh my goodness

1770
01:06:50.159 --> 01:06:52.480
is this really going to happen

1771
01:06:52.480 --> 01:06:54.480
but of course is it going to come

1772
01:06:54.480 --> 01:06:56.800
together and be something that people

1773
01:06:56.800 --> 01:06:57.600
will

1774
01:06:57.600 --> 01:07:00.880
identify and of course

1775
01:07:00.880 --> 01:07:03.520
trusting your eyes is the way way to go

1776
01:07:03.520 --> 01:07:05.520
about this because you

1777
01:07:05.520 --> 01:07:07.600
navigated around the world quite

1778
01:07:07.600 --> 01:07:10.320
comfortably i'm sure you've all you know

1779
01:07:10.320 --> 01:07:11.760
been

1780
01:07:11.760 --> 01:07:15.600
going about your daily business and not

1781
01:07:15.600 --> 01:07:17.280
you you're here on the planet so you

1782
01:07:17.280 --> 01:07:19.600
have eye hand coordination you can judge

1783
01:07:19.600 --> 01:07:22.159
distances so this is anyone who can do

1784
01:07:22.159 --> 01:07:23.600
that can draw

1785
01:07:23.600 --> 01:07:25.760
and

1786
01:07:25.760 --> 01:07:29.199
it's then drawing is something

1787
01:07:29.199 --> 01:07:30.880
i don't want to be teaching you drawing

1788
01:07:30.880 --> 01:07:32.719
i really do want to be teaching you

1789
01:07:32.719 --> 01:07:34.800
about how i saw

1790
01:07:34.800 --> 01:07:37.040
what i was looking for and how that then

1791
01:07:37.040 --> 01:07:38.560
was um

1792
01:07:38.560 --> 01:07:40.320
developed into drawing but you'll all

1793
01:07:40.320 --> 01:07:42.560
draw your own way and that's what makes

1794
01:07:42.560 --> 01:07:44.800
drawing such a powerful tallest and i

1795
01:07:44.800 --> 01:07:46.719
think we'll see that soon

1796
01:07:46.719 --> 01:07:48.560
there's so much variety

1797
01:07:48.560 --> 01:07:49.840
um

1798
01:07:49.840 --> 01:07:51.760
yeah how much time do we have left on

1799
01:07:51.760 --> 01:07:53.760
this one oh we just clicked over the

1800
01:07:53.760 --> 01:07:56.159
time but we if you want another minute

1801
01:07:56.159 --> 01:07:57.440
um

1802
01:07:57.440 --> 01:07:59.120
i'm good and

1803
01:07:59.120 --> 01:08:03.239
i get easily bored

1804
01:08:09.280 --> 01:08:11.199
i have um

1805
01:08:11.199 --> 01:08:14.320
i have five screens over here of people

1806
01:08:14.320 --> 01:08:16.320
with their cameras on busily drawing

1807
01:08:16.320 --> 01:08:18.320
it's just such a delight

1808
01:08:18.320 --> 01:08:20.080
when should we have a little look at

1809
01:08:20.080 --> 01:08:21.520
some people's work

1810
01:08:21.520 --> 01:08:24.400
oh right continue to be on your laptops

1811
01:08:24.400 --> 01:08:25.679
here

1812
01:08:25.679 --> 01:08:28.159
i can't actually i'm not okay we might

1813
01:08:28.159 --> 01:08:30.320
hold it off until after the next pose

1814
01:08:30.320 --> 01:08:32.480
yeah sure and then we'll do a big reveal

1815
01:08:32.480 --> 01:08:34.080
of everybody's drawings i can see them

1816
01:08:34.080 --> 01:08:36.159
at least i'm sorry but we will i will

1817
01:08:36.159 --> 01:08:37.679
show you and we'll make sure we have a

1818
01:08:37.679 --> 01:08:39.600
proper look at the end of the next um

1819
01:08:39.600 --> 01:08:41.760
session i did have a quick question for

1820
01:08:41.760 --> 01:08:44.400
you from one of the zoom participants we

1821
01:08:44.400 --> 01:08:47.360
were wondering if our next pose we might

1822
01:08:47.360 --> 01:08:49.440
be able to maybe just crop in a little

1823
01:08:49.440 --> 01:08:52.640
bit more on the production um video on

1824
01:08:52.640 --> 01:08:54.560
corey's head would that be a problem or

1825
01:08:54.560 --> 01:08:56.840
do you want the negative space around

1826
01:08:56.840 --> 01:08:57.920
here no

1827
01:08:57.920 --> 01:09:00.000
we can make it here absolutely that

1828
01:09:00.000 --> 01:09:02.320
would be a grand we'll get um we'll get

1829
01:09:02.320 --> 01:09:04.640
hector to do that for the next pose

1830
01:09:04.640 --> 01:09:07.040
okay thank you did anybody want

1831
01:09:07.040 --> 01:09:09.600
everybody having a little stretch

1832
01:09:09.600 --> 01:09:11.040
yeah have a little bit of a release is

1833
01:09:11.040 --> 01:09:13.920
probably cramping in the shoulder

1834
01:09:13.920 --> 01:09:16.239
um yeah there's a little bit of uh you

1835
01:09:16.239 --> 01:09:17.360
know

1836
01:09:17.360 --> 01:09:19.199
tension going from the shoulders because

1837
01:09:19.199 --> 01:09:21.360
i'm not used to having to lean

1838
01:09:21.360 --> 01:09:23.360
i've got a camera set up here everyone's

1839
01:09:23.360 --> 01:09:25.760
eye can lean in but are there any

1840
01:09:25.760 --> 01:09:30.000
questions about drawing uh otherwise

1841
01:09:30.000 --> 01:09:32.080
uh i'll let you know someone's ducked

1842
01:09:32.080 --> 01:09:34.159
off to get a cup of tea but if anyone

1843
01:09:34.159 --> 01:09:36.159
has any questions either on facebook oh

1844
01:09:36.159 --> 01:09:37.679
we did have one question on facebook

1845
01:09:37.679 --> 01:09:39.360
that i must remember to ask i hope

1846
01:09:39.360 --> 01:09:40.640
they're still with us

1847
01:09:40.640 --> 01:09:42.560
because they asked a while back what

1848
01:09:42.560 --> 01:09:44.880
kind of fixer do you use at the end of

1849
01:09:44.880 --> 01:09:48.000
your drawings i don't um

1850
01:09:48.000 --> 01:09:52.239
a lot of people do and i do probably

1851
01:09:52.239 --> 01:09:54.000
you know i recommend that if you're

1852
01:09:54.000 --> 01:09:55.600
wanting to

1853
01:09:55.600 --> 01:09:59.040
use use a fixative this hairspray works

1854
01:09:59.040 --> 01:10:01.600
as well i don't actually fix any of my

1855
01:10:01.600 --> 01:10:04.080
drawings i just put them down in a pile

1856
01:10:04.080 --> 01:10:07.120
and pile them up and

1857
01:10:07.120 --> 01:10:09.120
yeah and that's

1858
01:10:09.120 --> 01:10:10.640
i suppose i don't really look at them

1859
01:10:10.640 --> 01:10:13.840
again a lot of the time i i have this

1860
01:10:13.840 --> 01:10:15.840
approach to drawing that it's in the

1861
01:10:15.840 --> 01:10:17.280
moment and

1862
01:10:17.280 --> 01:10:19.600
they don't get too too badly smudged if

1863
01:10:19.600 --> 01:10:23.600
you just leave them lying flat but yes

1864
01:10:23.600 --> 01:10:25.920
and fix working for fixative is a good

1865
01:10:25.920 --> 01:10:29.040
thing the trick is to

1866
01:10:29.040 --> 01:10:30.880
spray it from a bit of a distance so

1867
01:10:30.880 --> 01:10:34.080
that you don't get picture saturated and

1868
01:10:34.080 --> 01:10:34.840
to

1869
01:10:34.840 --> 01:10:38.960
just uh yeah let it fume outside a bit

1870
01:10:38.960 --> 01:10:40.159
that's fine

1871
01:10:40.159 --> 01:10:42.880
uh a workable fixative is suitable but

1872
01:10:42.880 --> 01:10:44.560
you know you're introducing acids and

1873
01:10:44.560 --> 01:10:47.679
all sorts of things into it i tend to

1874
01:10:47.679 --> 01:10:49.040
if you were

1875
01:10:49.040 --> 01:10:51.360
showing your drawing you you would fix

1876
01:10:51.360 --> 01:10:53.440
it and then put it under a frame i

1877
01:10:53.440 --> 01:10:55.199
suppose

1878
01:10:55.199 --> 01:10:58.080
but typically they just

1879
01:10:58.080 --> 01:11:00.880
just move on

1880
01:11:00.880 --> 01:11:02.480
i've there's been quite a bit of a

1881
01:11:02.480 --> 01:11:04.880
discussion on the zoom chat about

1882
01:11:04.880 --> 01:11:06.560
people's pounces

1883
01:11:06.560 --> 01:11:08.640
and um a sort of a discus people are

1884
01:11:08.640 --> 01:11:10.560
some people are finding their pouncers

1885
01:11:10.560 --> 01:11:13.760
are not uh are not uh behaving a little

1886
01:11:13.760 --> 01:11:14.719
bit and there was a little bit of

1887
01:11:14.719 --> 01:11:16.640
discussion about what type of stockings

1888
01:11:16.640 --> 01:11:18.719
and whether they need to be fancy

1889
01:11:18.719 --> 01:11:21.280
stockings or can they be cheap

1890
01:11:21.280 --> 01:11:23.679
look you can go to op shops and get

1891
01:11:23.679 --> 01:11:25.360
some expensive stockings that people

1892
01:11:25.360 --> 01:11:27.120
have um

1893
01:11:27.120 --> 01:11:29.280
bought and decided are too small or

1894
01:11:29.280 --> 01:11:31.840
don't fish or something but i do think

1895
01:11:31.840 --> 01:11:35.600
the the nicer the the stocking um

1896
01:11:35.600 --> 01:11:36.719
the more

1897
01:11:36.719 --> 01:11:39.120
your drawings kind of feel sensual it's

1898
01:11:39.120 --> 01:11:42.560
got to feel good so if it's catching and

1899
01:11:42.560 --> 01:11:43.600
um

1900
01:11:43.600 --> 01:11:45.360
feeling uncomfortable then it's not the

1901
01:11:45.360 --> 01:11:47.040
sort of thing you want to do

1902
01:11:47.040 --> 01:11:49.280
remember though that while we're working

1903
01:11:49.280 --> 01:11:51.520
with the palettes later this approach is

1904
01:11:51.520 --> 01:11:54.560
transferable to other media or other

1905
01:11:54.560 --> 01:11:56.400
approaches

1906
01:11:56.400 --> 01:12:00.560
so you could be thinking again later

1907
01:12:00.560 --> 01:12:03.120
just using pencil and and working in a

1908
01:12:03.120 --> 01:12:05.360
broader way when you start rather than

1909
01:12:05.360 --> 01:12:06.400
being

1910
01:12:06.400 --> 01:12:07.120
uh

1911
01:12:07.120 --> 01:12:08.400
sort of

1912
01:12:08.400 --> 01:12:11.120
going straight for a line and

1913
01:12:11.120 --> 01:12:12.320
getting a line

1914
01:12:12.320 --> 01:12:13.920
right or wrong it's almost like the

1915
01:12:13.920 --> 01:12:15.440
first time you put a line on a piece of

1916
01:12:15.440 --> 01:12:17.520
paper it's you're almost going to doubt

1917
01:12:17.520 --> 01:12:19.280
it straight away but when you've got

1918
01:12:19.280 --> 01:12:20.560
this broader

1919
01:12:20.560 --> 01:12:21.440
tool

1920
01:12:21.440 --> 01:12:25.440
it's easier but um look i'd i'd suggest

1921
01:12:25.440 --> 01:12:28.239
if your pants is a little irritating

1922
01:12:28.239 --> 01:12:30.159
it's it might be

1923
01:12:30.159 --> 01:12:32.239
the wadding or it might be the

1924
01:12:32.239 --> 01:12:34.480
external i just

1925
01:12:34.480 --> 01:12:35.760
make up

1926
01:12:35.760 --> 01:12:38.239
yeah make up a few and experiment with

1927
01:12:38.239 --> 01:12:39.840
them what what does it feel like with a

1928
01:12:39.840 --> 01:12:42.000
cotton ball what does it feel like with

1929
01:12:42.000 --> 01:12:46.159
the insides that are from stuffed toys i

1930
01:12:46.159 --> 01:12:47.840
don't know if anyone's on a sheet farm

1931
01:12:47.840 --> 01:12:51.199
and they can test out some actual wool

1932
01:12:51.199 --> 01:12:53.920
which would be fantastic adrenaline yes

1933
01:12:53.920 --> 01:12:55.520
because the lantern

1934
01:12:55.520 --> 01:12:56.960
might change the quality of the

1935
01:12:56.960 --> 01:12:58.960
marketing we we have done this thing in

1936
01:12:58.960 --> 01:13:02.239
the past where we've added um put put

1937
01:13:02.239 --> 01:13:02.960
your

1938
01:13:02.960 --> 01:13:06.640
fine charcoal into oil and to make it a

1939
01:13:06.640 --> 01:13:09.120
little bit more permanent with the mark

1940
01:13:09.120 --> 01:13:11.600
less dusty

1941
01:13:11.600 --> 01:13:14.800
but yes the quality of your materials

1942
01:13:14.800 --> 01:13:17.040
changes the quality of the experience

1943
01:13:17.040 --> 01:13:19.440
that's for sure yeah

1944
01:13:19.440 --> 01:13:22.000
um somebody else has asked a few oh and

1945
01:13:22.000 --> 01:13:24.159
look it's gone back up the top i have to

1946
01:13:24.159 --> 01:13:25.840
just scroll up a little bit say a few

1947
01:13:25.840 --> 01:13:28.560
words about um using hard charcoal

1948
01:13:28.560 --> 01:13:31.440
sticks i believe was the question

1949
01:13:31.440 --> 01:13:34.080
hot chocolate sticks are wonderful

1950
01:13:34.080 --> 01:13:35.360
they're very good

1951
01:13:35.360 --> 01:13:38.800
for for the pants or for the lining um

1952
01:13:38.800 --> 01:13:41.360
it was just a few works words about how

1953
01:13:41.360 --> 01:13:43.440
using hard charcoal sticks the

1954
01:13:43.440 --> 01:13:45.440
techniques of using hard charcoal sticks

1955
01:13:45.440 --> 01:13:48.000
apologies okay the techniques of using

1956
01:13:48.000 --> 01:13:49.840
hard charcoal sticks a little bit

1957
01:13:49.840 --> 01:13:51.840
different so if you're working with a

1958
01:13:51.840 --> 01:13:52.880
conte

1959
01:13:52.880 --> 01:13:53.920
um

1960
01:13:53.920 --> 01:13:57.360
it is more linear and i i tend to then

1961
01:13:57.360 --> 01:13:58.880
map my

1962
01:13:58.880 --> 01:13:59.920
shapes

1963
01:13:59.920 --> 01:14:01.520
a bit more like

1964
01:14:01.520 --> 01:14:03.920
this using this diagonal sideways

1965
01:14:03.920 --> 01:14:04.880
movement

1966
01:14:04.880 --> 01:14:07.760
i'm left-handed so my movement of my

1967
01:14:07.760 --> 01:14:11.120
diagonal is predicated by the ease of

1968
01:14:11.120 --> 01:14:12.960
that making that direction if you

1969
01:14:12.960 --> 01:14:14.880
right-handed me the other way

1970
01:14:14.880 --> 01:14:17.440
but the shapes that i would be forming

1971
01:14:17.440 --> 01:14:20.480
in a soft powdery way with the linea

1972
01:14:20.480 --> 01:14:23.600
with the harder charcoal become a linear

1973
01:14:23.600 --> 01:14:25.360
gradation and

1974
01:14:25.360 --> 01:14:29.440
you can you really need to practice

1975
01:14:29.440 --> 01:14:30.639
that that

1976
01:14:30.639 --> 01:14:32.639
delicacy i often

1977
01:14:32.639 --> 01:14:36.239
um you know you're practicing how to

1978
01:14:36.239 --> 01:14:37.840
make a mark

1979
01:14:37.840 --> 01:14:39.360
i don't know if the camera's picking

1980
01:14:39.360 --> 01:14:41.199
this up is it

1981
01:14:41.199 --> 01:14:42.320
yes it is

1982
01:14:42.320 --> 01:14:46.000
yeah you can practice how you can

1983
01:14:46.000 --> 01:14:47.600
sorry yeah

1984
01:14:47.600 --> 01:14:49.280
yeah you can

1985
01:14:49.280 --> 01:14:51.199
this is this is just giving you that

1986
01:14:51.199 --> 01:14:54.000
sort of directional mark making um i'm

1987
01:14:54.000 --> 01:14:55.840
still using vine charcoal here but i'll

1988
01:14:55.840 --> 01:15:00.080
just shift it if i have any on

1989
01:15:00.840 --> 01:15:03.360
hand one second

1990
01:15:03.360 --> 01:15:06.239
i must have some

1991
01:15:08.639 --> 01:15:10.719
i've got i should have some i've got a

1992
01:15:10.719 --> 01:15:13.520
compressed charcoal here it's very it's

1993
01:15:13.520 --> 01:15:15.600
a little bit more

1994
01:15:15.600 --> 01:15:17.760
bigger but you can see

1995
01:15:17.760 --> 01:15:19.760
hard charcoals

1996
01:15:19.760 --> 01:15:21.920
gives it a stronger line

1997
01:15:21.920 --> 01:15:24.639
and just like

1998
01:15:24.880 --> 01:15:26.880
drawing with a pencil or shading i would

1999
01:15:26.880 --> 01:15:29.840
be almost establishing the shading with

2000
01:15:29.840 --> 01:15:32.960
this sort of way using line to delineate

2001
01:15:32.960 --> 01:15:35.840
a few more subtle things the thing about

2002
01:15:35.840 --> 01:15:37.679
line is that

2003
01:15:37.679 --> 01:15:40.080
it can make something look flat so if

2004
01:15:40.080 --> 01:15:41.920
you have a

2005
01:15:41.920 --> 01:15:45.679
you have a sphere excuse me very quickly

2006
01:15:45.679 --> 01:15:47.280
here

2007
01:15:47.280 --> 01:15:50.000
that if you have

2008
01:15:52.960 --> 01:15:55.600
we're all seeing this happen

2009
01:15:55.600 --> 01:15:57.120
okay

2010
01:15:57.120 --> 01:15:59.840
so if we have

2011
01:16:03.120 --> 01:16:05.679
a bit wonky but that's okay if we have a

2012
01:16:05.679 --> 01:16:07.840
sphere and then

2013
01:16:07.840 --> 01:16:09.679
you get this convincing illusion of

2014
01:16:09.679 --> 01:16:10.719
shape and

2015
01:16:10.719 --> 01:16:15.679
you can put if you put a line around it

2016
01:16:15.679 --> 01:16:17.920
outline around it you'll see that yes

2017
01:16:17.920 --> 01:16:20.560
it's clearer but it's more of a

2018
01:16:20.560 --> 01:16:23.280
of a flat circle it becomes more disk

2019
01:16:23.280 --> 01:16:26.400
light so line has this propensity to be

2020
01:16:26.400 --> 01:16:28.320
two-dimensional and

2021
01:16:28.320 --> 01:16:29.920
shapes have lightened up

2022
01:16:29.920 --> 01:16:32.320
three-dimensional so you can

2023
01:16:32.320 --> 01:16:33.760
sort of

2024
01:16:33.760 --> 01:16:36.400
shift that

2025
01:16:37.760 --> 01:16:40.480
and integrate it lose a bit of the edge

2026
01:16:40.480 --> 01:16:44.800
of the of your outline and suddenly

2027
01:16:44.800 --> 01:16:48.719
um the volume reappears

2028
01:16:48.719 --> 01:16:51.920
the the thing with the sticks using the

2029
01:16:51.920 --> 01:16:54.480
top oh sorry i think

2030
01:16:54.480 --> 01:16:56.400
don't get a bit crowded here the thing

2031
01:16:56.400 --> 01:16:58.719
with using the charcoal two as a linear

2032
01:16:58.719 --> 01:17:02.480
or hard mate is that you might be

2033
01:17:03.040 --> 01:17:05.520
building up more with line

2034
01:17:05.520 --> 01:17:07.760
um or using

2035
01:17:07.760 --> 01:17:09.760
line to just

2036
01:17:09.760 --> 01:17:12.159
come together a little bit more

2037
01:17:12.159 --> 01:17:13.600
at the edge and

2038
01:17:13.600 --> 01:17:14.800
taper out

2039
01:17:14.800 --> 01:17:17.440
yeah that sort of

2040
01:17:17.440 --> 01:17:18.719
so you're

2041
01:17:18.719 --> 01:17:20.560
still working with the idea of the

2042
01:17:20.560 --> 01:17:23.280
shapes but liners

2043
01:17:23.280 --> 01:17:26.480
messing together like a group of fish

2044
01:17:26.480 --> 01:17:29.679
in a school to create this sort of

2045
01:17:29.679 --> 01:17:31.679
generous movement

2046
01:17:31.679 --> 01:17:34.000
does that help that's terrific thank you

2047
01:17:34.000 --> 01:17:35.679
we should probably move on to our last

2048
01:17:35.679 --> 01:17:36.400
pose

2049
01:17:36.400 --> 01:17:38.400
we should and i'm just going to take

2050
01:17:38.400 --> 01:17:40.639
your fingers um yes i think at this

2051
01:17:40.639 --> 01:17:42.480
point it's always good to have a wet

2052
01:17:42.480 --> 01:17:44.400
cloth nearby

2053
01:17:44.400 --> 01:17:47.120
because um i'm not sure

2054
01:17:47.120 --> 01:17:49.920
i can even feel my fingers through the

2055
01:17:49.920 --> 01:17:52.639
chakra okay let's take this one down

2056
01:17:52.639 --> 01:17:55.920
corey's going to take our next pose

2057
01:17:55.920 --> 01:17:56.719
um

2058
01:17:56.719 --> 01:17:58.639
elise we've had so many people raving

2059
01:17:58.639 --> 01:18:00.480
about this technique they're using

2060
01:18:00.480 --> 01:18:02.719
everything from cotton balls to pom poms

2061
01:18:02.719 --> 01:18:03.840
to

2062
01:18:03.840 --> 01:18:06.159
bits of chucks the chuck swipes

2063
01:18:06.159 --> 01:18:08.239
apparently that's working treats so

2064
01:18:08.239 --> 01:18:10.639
fantastic very creative experimental

2065
01:18:10.639 --> 01:18:12.719
people that we've got joining us today

2066
01:18:12.719 --> 01:18:14.800
oh that's that is so wonderful and it's

2067
01:18:14.800 --> 01:18:16.159
it's um

2068
01:18:16.159 --> 01:18:17.920
it's really great to hear and have

2069
01:18:17.920 --> 01:18:19.679
people drawing alongside of me i don't

2070
01:18:19.679 --> 01:18:22.719
feel like i have it is not an indulgence

2071
01:18:22.719 --> 01:18:24.880
to draw it is actually a really

2072
01:18:24.880 --> 01:18:27.840
important way of um

2073
01:18:27.840 --> 01:18:30.880
it's a language it's an important way of

2074
01:18:30.880 --> 01:18:33.600
communicating and i think it's also very

2075
01:18:33.600 --> 01:18:36.239
soothing at this point in our time to

2076
01:18:36.239 --> 01:18:38.560
take that slow breath down

2077
01:18:38.560 --> 01:18:42.000
so as cory takes this final pose i want

2078
01:18:42.000 --> 01:18:44.560
you to just spend a little bit of time

2079
01:18:44.560 --> 01:18:47.840
thinking about what has changed so

2080
01:18:47.840 --> 01:18:50.000
i'm hopefully giving you the skills not

2081
01:18:50.000 --> 01:18:51.040
to draw

2082
01:18:51.040 --> 01:18:54.880
um the same way each time but to to be

2083
01:18:54.880 --> 01:18:57.040
able to see what is what

2084
01:18:57.040 --> 01:18:58.960
observe what's changed what you need to

2085
01:18:58.960 --> 01:19:00.639
pay attention to

2086
01:19:00.639 --> 01:19:01.760
so

2087
01:19:01.760 --> 01:19:04.719
when you start off a drawing don't be

2088
01:19:04.719 --> 01:19:07.360
rushing in necessarily to to do it

2089
01:19:07.360 --> 01:19:09.600
immediately take that moment and

2090
01:19:09.600 --> 01:19:11.360
particularly with a life model you need

2091
01:19:11.360 --> 01:19:12.719
to let them

2092
01:19:12.719 --> 01:19:14.800
settle into the pose and you need to

2093
01:19:14.800 --> 01:19:17.920
settle into the act of looking so i'm

2094
01:19:17.920 --> 01:19:20.480
spending a bit of time just to observe

2095
01:19:20.480 --> 01:19:22.960
what's going on here

2096
01:19:22.960 --> 01:19:25.360
and first off you can see how much of

2097
01:19:25.360 --> 01:19:27.679
the skull of the top of the head you can

2098
01:19:27.679 --> 01:19:30.000
see that that if you're thinking of my

2099
01:19:30.000 --> 01:19:30.960
two

2100
01:19:30.960 --> 01:19:33.679
spheres you're seeing so much more of

2101
01:19:33.679 --> 01:19:35.920
the fullness of the brain case

2102
01:19:35.920 --> 01:19:38.639
so it's nice and dark and i know it's it

2103
01:19:38.639 --> 01:19:41.440
i said i don't start without light

2104
01:19:41.440 --> 01:19:45.360
yeah i lied i can do anything i want

2105
01:19:45.360 --> 01:19:48.400
and that is what you can do too you can

2106
01:19:48.400 --> 01:19:50.639
start with it's not really outline look

2107
01:19:50.639 --> 01:19:52.960
at how it is a shape and this is what i

2108
01:19:52.960 --> 01:19:54.639
meant it's an abstract shape there's the

2109
01:19:54.639 --> 01:19:57.760
part of her hair it's getting darker um

2110
01:19:57.760 --> 01:20:00.000
right at that part where it's turning

2111
01:20:00.000 --> 01:20:02.080
away from the light comes out a bit

2112
01:20:02.080 --> 01:20:04.239
lighter i'm looking

2113
01:20:04.239 --> 01:20:06.400
not at the edge only

2114
01:20:06.400 --> 01:20:08.560
measure down what's happening so we're

2115
01:20:08.560 --> 01:20:11.600
going to get to the the the

2116
01:20:11.600 --> 01:20:13.120
hairline

2117
01:20:13.120 --> 01:20:15.840
and i'm looking now for distinctive

2118
01:20:15.840 --> 01:20:17.520
shapes of foreheads forests are

2119
01:20:17.520 --> 01:20:19.440
fascinating some people

2120
01:20:19.440 --> 01:20:22.400
they have um a fullness

2121
01:20:22.400 --> 01:20:24.960
in the center some people have

2122
01:20:24.960 --> 01:20:27.440
fullness and four points

2123
01:20:27.440 --> 01:20:29.199
and a hollowness in the center it's

2124
01:20:29.199 --> 01:20:31.600
fascinating how just start to look at

2125
01:20:31.600 --> 01:20:34.159
these things and if you want to become

2126
01:20:34.159 --> 01:20:37.040
myopic like me just scrint

2127
01:20:37.040 --> 01:20:39.760
um i chose in life try not to squint at

2128
01:20:39.760 --> 01:20:41.920
everyone and just to relax

2129
01:20:41.920 --> 01:20:42.719
with

2130
01:20:42.719 --> 01:20:44.239
with um

2131
01:20:44.239 --> 01:20:46.400
looking i think i need to

2132
01:20:46.400 --> 01:20:48.880
dose my

2133
01:20:48.880 --> 01:20:50.960
i'm just going to put a tiny bit more

2134
01:20:50.960 --> 01:20:53.920
powdered charcoal into my house whilst

2135
01:20:53.920 --> 01:20:55.840
you're doing that elisa i just wanted to

2136
01:20:55.840 --> 01:20:58.480
say sorry to people on zoom because um

2137
01:20:58.480 --> 01:21:00.000
we've actually

2138
01:21:00.000 --> 01:21:02.400
managed to rearrange some of the tiles

2139
01:21:02.400 --> 01:21:04.320
so we're just working on that oh and

2140
01:21:04.320 --> 01:21:06.560
like magic it's come back

2141
01:21:06.560 --> 01:21:07.760
i should just

2142
01:21:07.760 --> 01:21:08.960
should just have started speaking

2143
01:21:08.960 --> 01:21:12.159
earlier and we're back so as you were

2144
01:21:12.159 --> 01:21:13.920
ah yes

2145
01:21:13.920 --> 01:21:15.360
and just

2146
01:21:15.360 --> 01:21:17.840
recharged my pants a little it was they

2147
01:21:17.840 --> 01:21:20.239
do get dry pretty quickly

2148
01:21:20.239 --> 01:21:24.000
so i'm tracking this lovely uh

2149
01:21:24.000 --> 01:21:26.800
error this shape of hair and really

2150
01:21:26.800 --> 01:21:29.199
the idea that you can't name

2151
01:21:29.199 --> 01:21:31.360
name what shape that is

2152
01:21:31.360 --> 01:21:33.600
just be attentive to what it is it's

2153
01:21:33.600 --> 01:21:36.480
it's thinner it's widening

2154
01:21:36.480 --> 01:21:38.560
then right beneath it what's right

2155
01:21:38.560 --> 01:21:40.880
beneath it

2156
01:21:40.880 --> 01:21:43.280
scales out a bit here

2157
01:21:43.280 --> 01:21:46.719
there's the hairline i can see

2158
01:21:46.719 --> 01:21:49.760
that little sphere idea that i told you

2159
01:21:49.760 --> 01:21:52.639
about up here and then coming down on

2160
01:21:52.639 --> 01:21:55.360
the side of the face see how pronounced

2161
01:21:55.360 --> 01:21:57.040
that dark is wherever i'm seeing a

2162
01:21:57.040 --> 01:21:58.800
really strong dark

2163
01:21:58.800 --> 01:22:01.679
i know that i'm on to a corner a change

2164
01:22:01.679 --> 01:22:04.320
of plane and beneath that we're not

2165
01:22:04.320 --> 01:22:06.639
going to go beneath that it's too scary

2166
01:22:06.639 --> 01:22:08.159
out on a limb

2167
01:22:08.159 --> 01:22:09.600
so

2168
01:22:09.600 --> 01:22:11.280
often say to people

2169
01:22:11.280 --> 01:22:12.880
you know it's not that scary because

2170
01:22:12.880 --> 01:22:14.239
you're not you're not going to end up in

2171
01:22:14.239 --> 01:22:17.360
hospital if you get it wrong but aerial

2172
01:22:17.360 --> 01:22:20.560
skiing on the other hand

2173
01:22:20.960 --> 01:22:21.920
that

2174
01:22:21.920 --> 01:22:23.679
trying and testing that you can be

2175
01:22:23.679 --> 01:22:26.000
scared but not drawing so i'm looking

2176
01:22:26.000 --> 01:22:28.639
for the shape of her eye i'm noticing

2177
01:22:28.639 --> 01:22:31.040
the tilt as well on that there's a

2178
01:22:31.040 --> 01:22:33.360
lovely shadow look how that falls down

2179
01:22:33.360 --> 01:22:36.080
this is a higher ledge it's over

2180
01:22:36.080 --> 01:22:38.560
it's offset a little so this is the

2181
01:22:38.560 --> 01:22:41.199
veranda of the forehead coming down to

2182
01:22:41.199 --> 01:22:44.320
the eyebrow come into the eyelid and

2183
01:22:44.320 --> 01:22:46.080
it's just removed a bit

2184
01:22:46.080 --> 01:22:47.840
over to the side just

2185
01:22:47.840 --> 01:22:49.920
and then we come into the shadows we're

2186
01:22:49.920 --> 01:22:52.639
tracking those those shadows a little

2187
01:22:52.639 --> 01:22:54.480
bit nervous i'm going to go back into

2188
01:22:54.480 --> 01:22:57.040
the light and come back and find where

2189
01:22:57.040 --> 01:22:58.639
this other eye is

2190
01:22:58.639 --> 01:23:00.400
and how it i want to

2191
01:23:00.400 --> 01:23:02.960
should stand straight on to my work

2192
01:23:02.960 --> 01:23:04.960
once i get perspective

2193
01:23:04.960 --> 01:23:07.440
uh you'll notice this too if you've been

2194
01:23:07.440 --> 01:23:10.239
moving your head or trying to

2195
01:23:10.239 --> 01:23:12.719
draw at an angle you get these

2196
01:23:12.719 --> 01:23:14.880
interesting perspectives so remember to

2197
01:23:14.880 --> 01:23:17.440
ready or straighten yourself to your

2198
01:23:17.440 --> 01:23:18.400
drawing

2199
01:23:18.400 --> 01:23:22.639
and indeed to step back occasionally

2200
01:23:22.719 --> 01:23:25.600
so i'm looking at how there's a bit of

2201
01:23:25.600 --> 01:23:27.199
shadow over the

2202
01:23:27.199 --> 01:23:30.080
the eyelid but i've got that nice

2203
01:23:30.080 --> 01:23:33.520
turning up look at how it makes a point

2204
01:23:33.520 --> 01:23:35.440
of shadow up to the

2205
01:23:35.440 --> 01:23:36.960
eyebrow

2206
01:23:36.960 --> 01:23:38.960
and then how far across the edge of the

2207
01:23:38.960 --> 01:23:42.800
face how far across to the ear

2208
01:23:42.800 --> 01:23:45.520
and that's what you that's what sort of

2209
01:23:45.520 --> 01:23:47.360
makes you go what

2210
01:23:47.360 --> 01:23:49.840
that's part of the ear i can see

2211
01:23:49.840 --> 01:23:51.280
um so

2212
01:23:51.280 --> 01:23:54.159
and it's raised up higher so your pers

2213
01:23:54.159 --> 01:23:55.040
your

2214
01:23:55.040 --> 01:23:56.719
expectations

2215
01:23:56.719 --> 01:23:57.679
uh

2216
01:23:57.679 --> 01:24:00.320
of where things are is often something

2217
01:24:00.320 --> 01:24:03.120
you have to let go of just

2218
01:24:03.120 --> 01:24:06.000
just go okay i didn't expect to see the

2219
01:24:06.000 --> 01:24:07.280
ear that high

2220
01:24:07.280 --> 01:24:10.800
and look i need to actually grow this

2221
01:24:10.800 --> 01:24:12.800
top of the head up a bit higher too

2222
01:24:12.800 --> 01:24:14.560
because i haven't

2223
01:24:14.560 --> 01:24:17.360
so i'm re-adjusting my proportions

2224
01:24:17.360 --> 01:24:20.080
because of how it's all coming together

2225
01:24:20.080 --> 01:24:23.600
and that's perfectly normal and natural

2226
01:24:23.600 --> 01:24:24.960
you

2227
01:24:24.960 --> 01:24:28.159
come back to where you started

2228
01:24:28.159 --> 01:24:30.639
re-familiarize your

2229
01:24:30.639 --> 01:24:31.360
your

2230
01:24:31.360 --> 01:24:32.719
um

2231
01:24:32.719 --> 01:24:33.840
sort of

2232
01:24:33.840 --> 01:24:37.040
proportions your shapes coming down the

2233
01:24:37.040 --> 01:24:39.600
side of the face here

2234
01:24:39.600 --> 01:24:43.120
you that angle how do you read an angle

2235
01:24:43.120 --> 01:24:45.120
so if you're looking at this side of

2236
01:24:45.120 --> 01:24:47.520
crow's face here

2237
01:24:47.520 --> 01:24:48.840
if you think of a

2238
01:24:48.840 --> 01:24:52.239
clock this is 12 o'clock pointing here

2239
01:24:52.239 --> 01:24:54.719
and this is six o'clock straight line

2240
01:24:54.719 --> 01:24:57.280
what time is it

2241
01:24:57.280 --> 01:24:59.440
it's about one

2242
01:24:59.440 --> 01:25:03.280
there you go so the angles steep

2243
01:25:03.440 --> 01:25:05.840
now i'm going to come back in and i want

2244
01:25:05.840 --> 01:25:08.639
to keep that the shadows connecting here

2245
01:25:08.639 --> 01:25:11.280
look at i want to come in and make sure

2246
01:25:11.280 --> 01:25:13.679
there is a little bit of tension about

2247
01:25:13.679 --> 01:25:16.239
getting that wrong so i go slowly with

2248
01:25:16.239 --> 01:25:17.600
my shape

2249
01:25:17.600 --> 01:25:18.960
and

2250
01:25:18.960 --> 01:25:20.239
just keep

2251
01:25:20.239 --> 01:25:21.840
moving your

2252
01:25:21.840 --> 01:25:24.080
pants over the areas

2253
01:25:24.080 --> 01:25:25.040
until

2254
01:25:25.040 --> 01:25:26.800
you feel a bit confident and you can

2255
01:25:26.800 --> 01:25:29.040
start to press in a bit harder and

2256
01:25:29.040 --> 01:25:32.239
define an edge

2257
01:25:32.239 --> 01:25:34.400
look at how the tip of the nose sits

2258
01:25:34.400 --> 01:25:36.880
right onto the lip line now

2259
01:25:36.880 --> 01:25:39.199
that extreme

2260
01:25:39.199 --> 01:25:41.199
foreshortening that we're getting and

2261
01:25:41.199 --> 01:25:43.040
the chin

2262
01:25:43.040 --> 01:25:47.280
also really onto the just hardly any

2263
01:25:47.280 --> 01:25:49.280
distance between them

2264
01:25:49.280 --> 01:25:52.480
you do have to be careful about

2265
01:25:52.480 --> 01:25:54.400
thick lines do you just see what

2266
01:25:54.400 --> 01:25:56.960
happened when i drew that thick line for

2267
01:25:56.960 --> 01:25:58.080
the chin

2268
01:25:58.080 --> 01:26:01.280
what i got was a small shape in here

2269
01:26:01.280 --> 01:26:03.360
this is the bottom of the lip

2270
01:26:03.360 --> 01:26:04.080
and

2271
01:26:04.080 --> 01:26:05.920
it makes it a bit difficult if i just

2272
01:26:05.920 --> 01:26:07.440
use thick lines

2273
01:26:07.440 --> 01:26:09.760
i need to use shapes i'm going to soften

2274
01:26:09.760 --> 01:26:10.480
that

2275
01:26:10.480 --> 01:26:13.360
because otherwise i can't read

2276
01:26:13.360 --> 01:26:14.719
am i what

2277
01:26:14.719 --> 01:26:18.719
am i looking at the edge of a line

2278
01:26:18.719 --> 01:26:21.600
inside or outside and that will change

2279
01:26:21.600 --> 01:26:24.159
my proportions by quite a bit so

2280
01:26:24.159 --> 01:26:26.000
keep keep um

2281
01:26:26.000 --> 01:26:27.440
general very

2282
01:26:27.440 --> 01:26:29.440
as much as you can

2283
01:26:29.440 --> 01:26:31.679
okay so back up

2284
01:26:31.679 --> 01:26:35.280
some nice lights a bit of shadow down

2285
01:26:35.280 --> 01:26:37.360
on this turning this

2286
01:26:37.360 --> 01:26:39.600
i need this side to have a bit of shadow

2287
01:26:39.600 --> 01:26:41.520
in it because i need

2288
01:26:41.520 --> 01:26:44.400
to show the highlight on the top i need

2289
01:26:44.400 --> 01:26:45.520
a thin

2290
01:26:45.520 --> 01:26:47.440
corridor of light which is going to be

2291
01:26:47.440 --> 01:26:49.679
the change of plane there's a little one

2292
01:26:49.679 --> 01:26:53.280
here as well but we'll get to that

2293
01:26:53.280 --> 01:26:57.080
shifting back

2294
01:26:59.440 --> 01:27:01.760
whoops

2295
01:27:07.199 --> 01:27:10.000
this is why we i keep saying trust your

2296
01:27:10.000 --> 01:27:11.520
eyes because

2297
01:27:11.520 --> 01:27:13.920
i think the proportions are really

2298
01:27:13.920 --> 01:27:16.480
unusual from what you're used to with

2299
01:27:16.480 --> 01:27:18.639
the front on pose

2300
01:27:18.639 --> 01:27:21.520
but who knows when you'll need

2301
01:27:21.520 --> 01:27:23.120
a pose like this

2302
01:27:23.120 --> 01:27:24.800
or if you might have

2303
01:27:24.800 --> 01:27:26.639
people at home who will

2304
01:27:26.639 --> 01:27:28.800
model for you as long as they can read a

2305
01:27:28.800 --> 01:27:32.080
book or in my case read a book listen to

2306
01:27:32.080 --> 01:27:34.960
a podcast and eat an apple um

2307
01:27:34.960 --> 01:27:37.679
those generous helpful family members

2308
01:27:37.679 --> 01:27:38.800
who

2309
01:27:38.800 --> 01:27:39.840
think that

2310
01:27:39.840 --> 01:27:43.679
it's okay so this downward looking pose

2311
01:27:43.679 --> 01:27:45.760
could be something that you might

2312
01:27:45.760 --> 01:27:49.800
might see again at home

2313
01:28:03.760 --> 01:28:06.960
what time are we up to now with this

2314
01:28:06.960 --> 01:28:09.280
job

2315
01:28:12.239 --> 01:28:15.440
we have jill there

2316
01:28:16.639 --> 01:28:18.320
okay

2317
01:28:18.320 --> 01:28:19.440
so

2318
01:28:19.440 --> 01:28:22.560
i'm just looking at uh this extra dark i

2319
01:28:22.560 --> 01:28:24.639
like this extra dark under her hair

2320
01:28:24.639 --> 01:28:26.880
because it's very it's very sculptural

2321
01:28:26.880 --> 01:28:31.639
but that's what i mean by a shape again

2322
01:28:34.960 --> 01:28:35.840
and

2323
01:28:35.840 --> 01:28:37.760
the curl of the hair onto the shoulder

2324
01:28:37.760 --> 01:28:40.760
line

2325
01:28:50.159 --> 01:28:54.639
just emphasizing shadow down the face

2326
01:28:56.320 --> 01:29:00.360
and what little ones here

2327
01:29:02.560 --> 01:29:04.960
i can see also when

2328
01:29:04.960 --> 01:29:07.280
if i want something to sit back even if

2329
01:29:07.280 --> 01:29:09.920
it is light um i want this cheekbone to

2330
01:29:09.920 --> 01:29:12.239
come forward more so i've got to

2331
01:29:12.239 --> 01:29:13.840
if i'm just working with the light of

2332
01:29:13.840 --> 01:29:16.239
paper we've got to tone the things

2333
01:29:16.239 --> 01:29:19.440
around it relatively a little bit darker

2334
01:29:19.440 --> 01:29:21.280
so that can change the registration of

2335
01:29:21.280 --> 01:29:24.159
the whole of your drawing really can't

2336
01:29:24.159 --> 01:29:27.360
it's if you can imagine you suddenly

2337
01:29:27.360 --> 01:29:28.400
um

2338
01:29:28.400 --> 01:29:29.360
yeah

2339
01:29:29.360 --> 01:29:30.480
you suddenly

2340
01:29:30.480 --> 01:29:32.800
have to change maybe make some other

2341
01:29:32.800 --> 01:29:35.360
areas darker to register as well if you

2342
01:29:35.360 --> 01:29:37.600
start to darken this so that might

2343
01:29:37.600 --> 01:29:40.000
might just mean a little bit of a fine

2344
01:29:40.000 --> 01:29:43.040
adjustment across your drawing

2345
01:29:43.040 --> 01:29:46.639
it is a process of layering

2346
01:29:48.880 --> 01:29:51.360
all right

2347
01:29:57.520 --> 01:29:59.199
i'm not going to go too far out to the

2348
01:29:59.199 --> 01:30:02.480
edges and now i might start with the

2349
01:30:02.480 --> 01:30:05.280
fine charcoal and just have a little go

2350
01:30:05.280 --> 01:30:07.840
with doing some details that might make

2351
01:30:07.840 --> 01:30:09.679
it feel a little bit more secure i might

2352
01:30:09.679 --> 01:30:10.880
need to

2353
01:30:10.880 --> 01:30:14.639
emphasize a few more darts but

2354
01:30:14.639 --> 01:30:17.520
you can see how

2355
01:30:17.520 --> 01:30:18.480
this

2356
01:30:18.480 --> 01:30:22.719
beautiful sweep or curve is going to be

2357
01:30:22.719 --> 01:30:24.480
quite quite dark so you might want to

2358
01:30:24.480 --> 01:30:26.560
push it with the detail of the line

2359
01:30:26.560 --> 01:30:28.800
chart the fine charcoal

2360
01:30:28.800 --> 01:30:31.199
or a hard charcoal

2361
01:30:31.199 --> 01:30:34.000
if you're working in a hard charcoal 2

2362
01:30:34.000 --> 01:30:36.719
over willow charcoal or vine charcoal

2363
01:30:36.719 --> 01:30:38.480
whatever you want to call it

2364
01:30:38.480 --> 01:30:41.119
you might notice that when you first put

2365
01:30:41.119 --> 01:30:43.679
it on it starts to take off a little bit

2366
01:30:43.679 --> 01:30:44.800
of the

2367
01:30:44.800 --> 01:30:46.000
um

2368
01:30:46.000 --> 01:30:48.560
the charcoal the vine charcoal they're

2369
01:30:48.560 --> 01:30:49.840
just

2370
01:30:49.840 --> 01:30:52.880
it's about the powderiness of the vine

2371
01:30:52.880 --> 01:30:54.880
versus the um

2372
01:30:54.880 --> 01:30:57.520
sort of density of these compressed or

2373
01:30:57.520 --> 01:31:01.119
other charcoal so don't don't feel too

2374
01:31:01.119 --> 01:31:02.800
nervous about that

2375
01:31:02.800 --> 01:31:06.719
so in this relationship i'm looking at

2376
01:31:06.719 --> 01:31:09.360
shadow shadow

2377
01:31:09.360 --> 01:31:11.520
shape of shadow

2378
01:31:11.520 --> 01:31:14.080
nose nostril yep once again i'm going to

2379
01:31:14.080 --> 01:31:16.400
raise the nostrils a bit higher this is

2380
01:31:16.400 --> 01:31:18.639
the curve that nostrils two nostrils

2381
01:31:18.639 --> 01:31:20.840
have to sit

2382
01:31:20.840 --> 01:31:23.840
on and tip of the nose i'm going to

2383
01:31:23.840 --> 01:31:28.159
bring down a bit just a bit lower

2384
01:31:29.119 --> 01:31:32.480
curve at the top of the lip

2385
01:31:34.239 --> 01:31:37.360
and really it flattens out in this

2386
01:31:37.360 --> 01:31:39.920
hardly seeing any of it

2387
01:31:39.920 --> 01:31:41.440
might need to bring that some more

2388
01:31:41.440 --> 01:31:45.320
shadow later that's

2389
01:31:50.480 --> 01:31:52.000
and look under here we've got some

2390
01:31:52.000 --> 01:31:54.639
shadow to the side because our lip is

2391
01:31:54.639 --> 01:31:57.199
also turning away from us this is the

2392
01:31:57.199 --> 01:32:00.960
front plane here you can almost see that

2393
01:32:00.960 --> 01:32:06.320
like that little box of features small

2394
01:32:11.280 --> 01:32:12.719
and

2395
01:32:12.719 --> 01:32:14.320
going back into shadows so this is going

2396
01:32:14.320 --> 01:32:16.719
to have more of the highlight coming out

2397
01:32:16.719 --> 01:32:18.719
into here a little bit of shadow under

2398
01:32:18.719 --> 01:32:22.080
there but a lot of the bottom lip is

2399
01:32:22.080 --> 01:32:23.760
concealing

2400
01:32:23.760 --> 01:32:25.600
this uh

2401
01:32:25.600 --> 01:32:27.360
shape underneath and you're just going

2402
01:32:27.360 --> 01:32:29.119
straight into the

2403
01:32:29.119 --> 01:32:32.440
the chin

2404
01:32:43.040 --> 01:32:45.199
yeah delicately

2405
01:32:45.199 --> 01:32:47.440
she says delicately try and find that

2406
01:32:47.440 --> 01:32:49.840
edge of the face

2407
01:32:49.840 --> 01:32:52.960
and instead of using it as a line when i

2408
01:32:52.960 --> 01:32:54.000
find

2409
01:32:54.000 --> 01:32:55.520
it is a line just as i did with that

2410
01:32:55.520 --> 01:32:57.840
sphere integrated into the

2411
01:32:57.840 --> 01:32:58.880
into the

2412
01:32:58.880 --> 01:33:01.440
background so that it doesn't sit on the

2413
01:33:01.440 --> 01:33:04.800
face that sits behind the face and

2414
01:33:04.800 --> 01:33:08.159
that's a bit more convincing

2415
01:33:13.520 --> 01:33:15.840
okay

2416
01:33:16.000 --> 01:33:18.400
the direction of my map making does help

2417
01:33:18.400 --> 01:33:19.679
uh to

2418
01:33:19.679 --> 01:33:22.080
use that playing this way but maybe to

2419
01:33:22.080 --> 01:33:24.239
use marks on a different angle on this

2420
01:33:24.239 --> 01:33:27.600
side and always have to

2421
01:33:27.600 --> 01:33:29.760
playing the directional mark making the

2422
01:33:29.760 --> 01:33:32.239
same way

2423
01:33:32.239 --> 01:33:35.199
but the pants really takes out any

2424
01:33:35.199 --> 01:33:38.920
great sense of directions

2425
01:33:44.320 --> 01:33:48.159
my brow seems high on that side

2426
01:33:48.159 --> 01:33:50.159
so i'm just pushing

2427
01:33:50.159 --> 01:33:51.920
look at looking at that distance i've

2428
01:33:51.920 --> 01:33:55.880
gone too high haven't i

2429
01:33:58.560 --> 01:34:01.280
somewhere in there

2430
01:34:01.280 --> 01:34:02.960
just making her eyebrow a little bit

2431
01:34:02.960 --> 01:34:05.440
dark so it comes forward i don't want to

2432
01:34:05.440 --> 01:34:07.360
do that too much

2433
01:34:07.360 --> 01:34:09.040
all right so

2434
01:34:09.040 --> 01:34:12.400
effectively i'm getting close noticing

2435
01:34:12.400 --> 01:34:14.639
that you can also shadow the

2436
01:34:14.639 --> 01:34:16.880
eyeball so that

2437
01:34:16.880 --> 01:34:20.480
the eyelid shows the fullness going from

2438
01:34:20.480 --> 01:34:24.080
darker inset to lighter to darker again

2439
01:34:24.080 --> 01:34:26.159
and you can see here just

2440
01:34:26.159 --> 01:34:28.159
there's a little

2441
01:34:28.159 --> 01:34:29.840
extra dark

2442
01:34:29.840 --> 01:34:30.719
just

2443
01:34:30.719 --> 01:34:32.960
in under here and before the cheekbone

2444
01:34:32.960 --> 01:34:36.239
comes out and starts to illuminate

2445
01:34:36.239 --> 01:34:37.360
or

2446
01:34:37.360 --> 01:34:39.840
bring a nice fullness into the face then

2447
01:34:39.840 --> 01:34:42.719
this sits back

2448
01:34:48.480 --> 01:34:51.199
so just before i get finished this one

2449
01:34:51.199 --> 01:34:54.239
up so i think we're getting

2450
01:34:54.239 --> 01:34:57.840
are we going for time now jill

2451
01:34:58.159 --> 01:35:01.040
we've lost jill

2452
01:35:03.600 --> 01:35:07.480
okay so we're

2453
01:35:09.920 --> 01:35:13.679
coming down and into here

2454
01:35:13.760 --> 01:35:15.679
i'm not sure if we've got everything

2455
01:35:15.679 --> 01:35:20.119
happening at this point are we on

2456
01:35:22.480 --> 01:35:25.520
okay so i've got

2457
01:35:29.040 --> 01:35:31.600
okay that's

2458
01:35:31.600 --> 01:35:33.840
okay

2459
01:35:33.840 --> 01:35:36.880
right so what i can see here is a little

2460
01:35:36.880 --> 01:35:38.719
bit more highlight a little bit more

2461
01:35:38.719 --> 01:35:40.480
highlight down

2462
01:35:40.480 --> 01:35:43.360
the top of this cheekbone here

2463
01:35:43.360 --> 01:35:45.440
notice too there's a little bit of

2464
01:35:45.440 --> 01:35:47.520
highlight on the peep see where the

2465
01:35:47.520 --> 01:35:49.679
eyebrow starts to pick up that's where

2466
01:35:49.679 --> 01:35:52.239
that highlight shimmers right up to the

2467
01:35:52.239 --> 01:35:55.600
face and then it jumps up into the hair

2468
01:35:55.600 --> 01:35:57.119
and becomes

2469
01:35:57.119 --> 01:35:59.280
comes forward so this is really i know

2470
01:35:59.280 --> 01:36:01.520
it's a little bit exaggerated there but

2471
01:36:01.520 --> 01:36:02.880
nonetheless

2472
01:36:02.880 --> 01:36:04.320
that's following

2473
01:36:04.320 --> 01:36:07.119
the the form following the absolute

2474
01:36:07.119 --> 01:36:08.400
highlights

2475
01:36:08.400 --> 01:36:10.400
getting a little bit of volume it's a

2476
01:36:10.400 --> 01:36:12.400
little bit of reflected light on this

2477
01:36:12.400 --> 01:36:14.800
side or a little bit of extra strong

2478
01:36:14.800 --> 01:36:17.520
light on this side here

2479
01:36:17.520 --> 01:36:18.960
which is helping

2480
01:36:18.960 --> 01:36:21.340
helping something

2481
01:36:21.340 --> 01:36:24.409
[Music]

2482
01:36:27.360 --> 01:36:28.480
okay

2483
01:36:28.480 --> 01:36:31.520
now i might just use the pants a tiny

2484
01:36:31.520 --> 01:36:33.199
tiny bit more

2485
01:36:33.199 --> 01:36:34.880
if you're unsure of

2486
01:36:34.880 --> 01:36:37.760
how the pounce is going just soften it

2487
01:36:37.760 --> 01:36:39.040
on the edge

2488
01:36:39.040 --> 01:36:41.760
just want to

2489
01:36:41.840 --> 01:36:44.639
just to give a little bit more shadow

2490
01:36:44.639 --> 01:36:47.040
into there so that when i come back out

2491
01:36:47.040 --> 01:36:48.719
with a highlight

2492
01:36:48.719 --> 01:36:52.239
it really registers

2493
01:36:55.280 --> 01:36:56.719
so

2494
01:36:56.719 --> 01:36:58.639
sorry elisa i dropped out for a little

2495
01:36:58.639 --> 01:37:00.800
bit there but i'm i'm back with you now

2496
01:37:00.800 --> 01:37:02.960
minus a virtual background and talking

2497
01:37:02.960 --> 01:37:04.400
on my phone but

2498
01:37:04.400 --> 01:37:05.760
thank you

2499
01:37:05.760 --> 01:37:07.360
sorry to abandon you for a little bit

2500
01:37:07.360 --> 01:37:11.600
there ah i thought she'd gone quiet

2501
01:37:11.600 --> 01:37:13.679
it was probably a blessing

2502
01:37:13.679 --> 01:37:18.159
no no no but this is where i'm up to

2503
01:37:23.679 --> 01:37:25.440
okay

2504
01:37:25.440 --> 01:37:28.960
so everyone i've got this um

2505
01:37:28.960 --> 01:37:31.600
to this point with the the face so i

2506
01:37:31.600 --> 01:37:34.320
think it's just about time to

2507
01:37:34.320 --> 01:37:36.719
wrap up

2508
01:37:37.119 --> 01:37:38.800
it's just about time to wrap up with

2509
01:37:38.800 --> 01:37:40.719
this particular

2510
01:37:40.719 --> 01:37:42.159
pose

2511
01:37:42.159 --> 01:37:44.320
thinking i'm just looking at the time so

2512
01:37:44.320 --> 01:37:46.719
probably have maybe about another

2513
01:37:46.719 --> 01:37:48.480
maybe about another three minutes and

2514
01:37:48.480 --> 01:37:50.000
that will give me a chance to sort out

2515
01:37:50.000 --> 01:37:52.480
my tech issues and then we can

2516
01:37:52.480 --> 01:37:54.239
make sure that we're ready to be able to

2517
01:37:54.239 --> 01:37:56.400
show some of the work to you as well

2518
01:37:56.400 --> 01:37:57.920
okay

2519
01:37:57.920 --> 01:38:00.159
well look i'll just keep i'll just keep

2520
01:38:00.159 --> 01:38:01.760
drawing along the hairline because you

2521
01:38:01.760 --> 01:38:03.760
can emphasize this a little bit more

2522
01:38:03.760 --> 01:38:05.040
which will give

2523
01:38:05.040 --> 01:38:07.920
just a bit more sense of

2524
01:38:07.920 --> 01:38:09.760
the volumes you don't want to

2525
01:38:09.760 --> 01:38:12.320
necessarily make the contrast even

2526
01:38:12.320 --> 01:38:14.639
across the top of the

2527
01:38:14.639 --> 01:38:16.880
the head noting that this is closer

2528
01:38:16.880 --> 01:38:19.360
towards you this is going further away

2529
01:38:19.360 --> 01:38:21.920
what we know about distance what i

2530
01:38:21.920 --> 01:38:23.600
definitely know about the distance is

2531
01:38:23.600 --> 01:38:26.000
the contrast is

2532
01:38:26.000 --> 01:38:29.119
softened or less the detail

2533
01:38:29.119 --> 01:38:32.320
much more evident when you come closer

2534
01:38:32.320 --> 01:38:35.199
so if you can replicate that on a 2d

2535
01:38:35.199 --> 01:38:38.639
sheet of paper that idea of

2536
01:38:38.639 --> 01:38:41.520
shifting between low contrast and it's

2537
01:38:41.520 --> 01:38:43.600
not just about a

2538
01:38:43.600 --> 01:38:45.600
light or a dark mark it's about where

2539
01:38:45.600 --> 01:38:48.080
you see the lights and darts together

2540
01:38:48.080 --> 01:38:50.560
so they can they can register

2541
01:38:50.560 --> 01:38:52.800
it's true also for your peripheral

2542
01:38:52.800 --> 01:38:55.119
vision so as you're going away from

2543
01:38:55.119 --> 01:38:56.800
where the focus might be you don't

2544
01:38:56.800 --> 01:38:59.760
really want to have a lot of distracting

2545
01:38:59.760 --> 01:39:02.719
elements that are too strong or drawing

2546
01:39:02.719 --> 01:39:04.400
the eye away from where you want them to

2547
01:39:04.400 --> 01:39:06.000
focus so

2548
01:39:06.000 --> 01:39:08.719
this is where you can go crazy see how

2549
01:39:08.719 --> 01:39:11.840
the the hair is now sort of quite strong

2550
01:39:11.840 --> 01:39:14.239
and it might be a bit distracting so you

2551
01:39:14.239 --> 01:39:15.760
you can sort of

2552
01:39:15.760 --> 01:39:17.679
play it balancing

2553
01:39:17.679 --> 01:39:20.239
how much detail to

2554
01:39:20.239 --> 01:39:21.440
bring in

2555
01:39:21.440 --> 01:39:23.600
and how much to just

2556
01:39:23.600 --> 01:39:26.480
soften back

2557
01:39:27.600 --> 01:39:29.040
anyway it's

2558
01:39:29.040 --> 01:39:30.840
it's not so much

2559
01:39:30.840 --> 01:39:34.000
um yeah it's it's just where you want

2560
01:39:34.000 --> 01:39:36.400
the person to look or where you want

2561
01:39:36.400 --> 01:39:39.600
the attention to go

2562
01:39:44.080 --> 01:39:45.760
it's going to build a little bit more

2563
01:39:45.760 --> 01:39:46.639
shadow

2564
01:39:46.639 --> 01:39:48.560
into here

2565
01:39:48.560 --> 01:39:51.840
along the hairline again

2566
01:39:51.840 --> 01:39:54.080
and that hairline once again

2567
01:39:54.080 --> 01:39:55.600
looking

2568
01:39:55.600 --> 01:39:57.600
looking down

2569
01:39:57.600 --> 01:39:59.520
you can get this cast of everything

2570
01:39:59.520 --> 01:40:03.360
looking down it's quite beautiful

2571
01:40:05.600 --> 01:40:08.960
cory's holding this pose so well

2572
01:40:08.960 --> 01:40:12.000
um you might notice that this start line

2573
01:40:12.000 --> 01:40:15.199
comes down and overlaps

2574
01:40:15.199 --> 01:40:17.440
the nostril and that's another moment of

2575
01:40:17.440 --> 01:40:20.080
the nostril sitting back in space

2576
01:40:20.080 --> 01:40:21.679
or the edge of the nose there's a little

2577
01:40:21.679 --> 01:40:23.440
bit of

2578
01:40:23.440 --> 01:40:25.840
light here on the dark side

2579
01:40:25.840 --> 01:40:28.960
just in here where there's that fullness

2580
01:40:28.960 --> 01:40:31.119
of flesh is it

2581
01:40:31.119 --> 01:40:35.520
the side of the nose and helps to just

2582
01:40:35.520 --> 01:40:36.320
pick

2583
01:40:36.320 --> 01:40:39.760
a little bit of light back

2584
01:40:39.920 --> 01:40:43.600
to show that plain shifting up

2585
01:40:43.600 --> 01:40:46.080
so that's about

2586
01:40:46.080 --> 01:40:49.119
where i get it to

2587
01:40:50.320 --> 01:40:52.239
i'm really keen to see

2588
01:40:52.239 --> 01:40:55.280
how you guys have gone with this

2589
01:40:55.280 --> 01:40:56.800
but as we're

2590
01:40:56.800 --> 01:40:59.760
working on it you can play and touch and

2591
01:40:59.760 --> 01:41:02.400
touch it up for ages and ages i mean

2592
01:41:02.400 --> 01:41:03.600
it's

2593
01:41:03.600 --> 01:41:08.119
it's the blackboard drawing isn't it

2594
01:41:15.520 --> 01:41:19.600
so still i wonder if she's frozen frame

2595
01:41:19.760 --> 01:41:21.199
we replaced it with a still image you

2596
01:41:21.199 --> 01:41:24.760
know eyes are moving

2597
01:41:24.800 --> 01:41:26.719
yeah

2598
01:41:26.719 --> 01:41:28.880
but i can take away those little points

2599
01:41:28.880 --> 01:41:31.119
i made just to

2600
01:41:31.119 --> 01:41:32.560
you know when they do the police

2601
01:41:32.560 --> 01:41:35.440
identicate photos on the news and they

2602
01:41:35.440 --> 01:41:36.880
put that

2603
01:41:36.880 --> 01:41:37.760
little

2604
01:41:37.760 --> 01:41:39.920
triangular

2605
01:41:39.920 --> 01:41:41.679
section onto the face and you think

2606
01:41:41.679 --> 01:41:43.440
that's never going to

2607
01:41:43.440 --> 01:41:45.280
hold all the features and sure enough it

2608
01:41:45.280 --> 01:41:49.040
does so it's such a small area

2609
01:41:49.040 --> 01:41:50.800
well i think that's actually

2610
01:41:50.800 --> 01:41:52.000
i think we're

2611
01:41:52.000 --> 01:41:53.679
probably

2612
01:41:53.679 --> 01:41:55.280
at the end of our

2613
01:41:55.280 --> 01:41:56.560
drawing

2614
01:41:56.560 --> 01:41:58.239
i think so

2615
01:41:58.239 --> 01:42:00.480
yeah

2616
01:42:00.719 --> 01:42:02.800
that's that's good enough i'm not as i

2617
01:42:02.800 --> 01:42:05.280
said i'm not really focusing on making

2618
01:42:05.280 --> 01:42:07.920
beautiful drawings or good great art at

2619
01:42:07.920 --> 01:42:10.159
this point what i'm trying to do is show

2620
01:42:10.159 --> 01:42:12.719
you a process of looking and

2621
01:42:12.719 --> 01:42:15.600
when people see or watch someone drawing

2622
01:42:15.600 --> 01:42:17.280
to note that they might not be able to

2623
01:42:17.280 --> 01:42:18.560
articulate

2624
01:42:18.560 --> 01:42:20.880
what it is that they're seeing or

2625
01:42:20.880 --> 01:42:23.280
looking at because your brain's focusing

2626
01:42:23.280 --> 01:42:25.520
on what you're doing but over years of

2627
01:42:25.520 --> 01:42:28.159
teaching as soon as i wanted to teach i

2628
01:42:28.159 --> 01:42:30.560
knew i wanted to be able to communicate

2629
01:42:30.560 --> 01:42:32.639
so trying to get my words to come out

2630
01:42:32.639 --> 01:42:35.360
while i'm drawing um something i've

2631
01:42:35.360 --> 01:42:38.400
practiced doing and what it is i'm doing

2632
01:42:38.400 --> 01:42:41.199
is looking for these shapes and then of

2633
01:42:41.199 --> 01:42:43.760
course a drawing is more about

2634
01:42:43.760 --> 01:42:44.639
your

2635
01:42:44.639 --> 01:42:47.520
your own intentions your

2636
01:42:47.520 --> 01:42:49.360
sensitivities to the world what you want

2637
01:42:49.360 --> 01:42:51.760
to express and that's particularly

2638
01:42:51.760 --> 01:42:53.840
unique but if you are trying for

2639
01:42:53.840 --> 01:42:56.480
observational drawing at any point

2640
01:42:56.480 --> 01:42:58.159
these tips are

2641
01:42:58.159 --> 01:42:59.280
general

2642
01:42:59.280 --> 01:43:00.840
um to more

2643
01:43:00.840 --> 01:43:02.560
specific of

2644
01:43:02.560 --> 01:43:05.600
soft shadows working out the shapes

2645
01:43:05.600 --> 01:43:08.560
building towards contrast building from

2646
01:43:08.560 --> 01:43:09.840
dark to light

2647
01:43:09.840 --> 01:43:11.760
is very useful and

2648
01:43:11.760 --> 01:43:14.400
and can be transferred into painting as

2649
01:43:14.400 --> 01:43:17.360
well so if you want to do traditional

2650
01:43:17.360 --> 01:43:19.760
painting of the dark ground and moving

2651
01:43:19.760 --> 01:43:21.520
through into life

2652
01:43:21.520 --> 01:43:23.440
this this is the process that will help

2653
01:43:23.440 --> 01:43:25.840
you achieve that

2654
01:43:25.840 --> 01:43:27.840
thank you so much alisa and thank you

2655
01:43:27.840 --> 01:43:29.920
corey we can probably release you from

2656
01:43:29.920 --> 01:43:33.360
your uh pose from your pose

2657
01:43:33.360 --> 01:43:35.280
thank you so much

2658
01:43:35.280 --> 01:43:37.440
um we're going to try a little trick and

2659
01:43:37.440 --> 01:43:39.440
alisa you're going to have to be my eyes

2660
01:43:39.440 --> 01:43:41.440
for me because my internet has just

2661
01:43:41.440 --> 01:43:45.040
decided it has had enough today but if

2662
01:43:45.040 --> 01:43:46.880
you're able to have a look on the laptop

2663
01:43:46.880 --> 01:43:49.040
that we had set up earlier over to the

2664
01:43:49.040 --> 01:43:51.520
side we're going to try a little trick

2665
01:43:51.520 --> 01:43:53.360
of technology and see if we might be

2666
01:43:53.360 --> 01:43:55.440
able to bring in um some of the

2667
01:43:55.440 --> 01:43:57.520
wonderful participa participants who

2668
01:43:57.520 --> 01:43:59.119
have been so creative throughout the

2669
01:43:59.119 --> 01:44:01.040
course of the afternoon to see if we

2670
01:44:01.040 --> 01:44:03.199
might be able to get them to hold up

2671
01:44:03.199 --> 01:44:04.960
some of their creations so that we can

2672
01:44:04.960 --> 01:44:06.400
just see

2673
01:44:06.400 --> 01:44:07.679
and enjoy

2674
01:44:07.679 --> 01:44:09.040
some of the things that they've been

2675
01:44:09.040 --> 01:44:11.440
creating can you see those on there

2676
01:44:11.440 --> 01:44:16.880
no not yet no i can't oh i can see on

2677
01:44:17.119 --> 01:44:17.490
hey

2678
01:44:17.490 --> 01:44:20.910
[Music]

2679
01:44:20.960 --> 01:44:22.639
i'm going to be

2680
01:44:22.639 --> 01:44:27.040
look at this bee an ocean

2681
01:44:28.320 --> 01:44:31.280
thank you so much everyone what a

2682
01:44:31.280 --> 01:44:33.280
wonderful effort

2683
01:44:33.280 --> 01:44:35.760
they look fabulous

2684
01:44:35.760 --> 01:44:38.719
oh my goodness

2685
01:44:38.719 --> 01:44:40.000
oh i tell you what i'm getting a little

2686
01:44:40.000 --> 01:44:41.520
bit emotional seeing all of this

2687
01:44:41.520 --> 01:44:43.360
creativity that's coming through and

2688
01:44:43.360 --> 01:44:45.599
such it's been such

2689
01:44:45.599 --> 01:44:47.920
an amazing opportunity for us to connect

2690
01:44:47.920 --> 01:44:50.000
with all of you and share some

2691
01:44:50.000 --> 01:44:52.639
creativity and all our hearts go out to

2692
01:44:52.639 --> 01:44:53.920
everybody who's in lockdown at the

2693
01:44:53.920 --> 01:44:55.199
moment and

2694
01:44:55.199 --> 01:44:56.719
we're just hoping that

2695
01:44:56.719 --> 01:44:58.000
you know this has brought a little bit

2696
01:44:58.000 --> 01:44:59.599
of a smile and a little bit of

2697
01:44:59.599 --> 01:45:01.520
relaxation and mindfulness to your

2698
01:45:01.520 --> 01:45:03.679
afternoon look at all those creations oh

2699
01:45:03.679 --> 01:45:05.840
my goodness yeah

2700
01:45:05.840 --> 01:45:08.000
keep drawing everyone what a wonderful

2701
01:45:08.000 --> 01:45:10.880
effort and i hope you felt

2702
01:45:10.880 --> 01:45:13.520
um that you now have a pathway to do

2703
01:45:13.520 --> 01:45:15.440
this you don't need to listen to my

2704
01:45:15.440 --> 01:45:17.520
voice all the time you just need to

2705
01:45:17.520 --> 01:45:20.719
listen and trust your own eyes and and

2706
01:45:20.719 --> 01:45:23.199
find someone who'll let you stare at

2707
01:45:23.199 --> 01:45:26.880
them uh for a prolonged period of time

2708
01:45:26.880 --> 01:45:28.719
you might find that you've become really

2709
01:45:28.719 --> 01:45:29.760
good friends

2710
01:45:29.760 --> 01:45:33.040
i really have a great affinity with

2711
01:45:33.040 --> 01:45:35.840
corey she's been such a fantastic model

2712
01:45:35.840 --> 01:45:38.560
uh through through art school uh working

2713
01:45:38.560 --> 01:45:40.560
with me and

2714
01:45:40.560 --> 01:45:44.000
and you really find that that it's the

2715
01:45:44.000 --> 01:45:46.719
generosity but also the

2716
01:45:46.719 --> 01:45:49.119
the peace and calm that she brings to

2717
01:45:49.119 --> 01:45:51.199
the drawings it's really beautiful as

2718
01:45:51.199 --> 01:45:54.960
well so fantastic effort everyone

2719
01:45:54.960 --> 01:45:56.159
i am sorry

2720
01:45:56.159 --> 01:45:58.080
to get our friends who are joining us on

2721
01:45:58.080 --> 01:46:00.880
facebook as well um if you could please

2722
01:46:00.880 --> 01:46:03.679
pop um photographs of your drawings into

2723
01:46:03.679 --> 01:46:06.080
the comments on facebook so that both

2724
01:46:06.080 --> 01:46:07.840
corey and elisa can go back and check

2725
01:46:07.840 --> 01:46:09.440
them out afterwards i'm sure they'd love

2726
01:46:09.440 --> 01:46:10.960
to see all of the things you've been

2727
01:46:10.960 --> 01:46:13.119
creating as well

2728
01:46:13.119 --> 01:46:16.800
i definitely would i definitely would

2729
01:46:16.800 --> 01:46:19.280
that is is really exciting

2730
01:46:19.280 --> 01:46:22.080
thank you so much everyone

2731
01:46:22.080 --> 01:46:24.320
uh thank you so much elisa and thank you

2732
01:46:24.320 --> 01:46:25.920
corey um

2733
01:46:25.920 --> 01:46:28.239
i would really like to thank everyone

2734
01:46:28.239 --> 01:46:30.800
who's come along and supported uh

2735
01:46:30.800 --> 01:46:32.159
well supported the national portrait

2736
01:46:32.159 --> 01:46:34.239
gallery even supported each other and

2737
01:46:34.239 --> 01:46:36.080
joined our drawing community for the

2738
01:46:36.080 --> 01:46:37.280
afternoon

2739
01:46:37.280 --> 01:46:39.119
um if you're interested in joining some

2740
01:46:39.119 --> 01:46:41.760
of our other uh programs please jump on

2741
01:46:41.760 --> 01:46:44.639
our website portrait.gov.edu

2742
01:46:44.639 --> 01:46:47.199
and check out the live online section

2743
01:46:47.199 --> 01:46:50.080
this video of this particular workshop

2744
01:46:50.080 --> 01:46:52.400
will also be available on our watch

2745
01:46:52.400 --> 01:46:54.480
section of the website uh early next

2746
01:46:54.480 --> 01:46:56.239
week so please if you'd like to go back

2747
01:46:56.239 --> 01:46:58.239
and look at some of the incredible um

2748
01:46:58.239 --> 01:47:00.000
tuition that alisa has given us this

2749
01:47:00.000 --> 01:47:03.040
afternoon please jump on there as well

2750
01:47:03.040 --> 01:47:04.239
um

2751
01:47:04.239 --> 01:47:06.480
what else do i have to say it's just

2752
01:47:06.480 --> 01:47:09.360
been um a a bit of a technical disaster

2753
01:47:09.360 --> 01:47:11.280
for me in the last 20 minutes but i'm

2754
01:47:11.280 --> 01:47:13.520
here sitting in front of a green screen

2755
01:47:13.520 --> 01:47:16.159
and we're just so thankful to everybody

2756
01:47:16.159 --> 01:47:19.199
for joining in today um please email any

2757
01:47:19.199 --> 01:47:20.400
drawings if you're having trouble

2758
01:47:20.400 --> 01:47:22.080
popping them into the facebook comments

2759
01:47:22.080 --> 01:47:24.000
or if you are having

2760
01:47:24.000 --> 01:47:25.520
any difficulties or you'd like to share

2761
01:47:25.520 --> 01:47:27.119
them with us please if you'd like to

2762
01:47:27.119 --> 01:47:30.040
email info

2763
01:47:30.040 --> 01:47:32.639
mpg.gov.eu we'd also really love to

2764
01:47:32.639 --> 01:47:34.480
share your drawings and your creativity

2765
01:47:34.480 --> 01:47:38.560
um with elisa and corey later on so

2766
01:47:38.560 --> 01:47:40.480
i think that's all i need to remember to

2767
01:47:40.480 --> 01:47:42.880
say for the wrapping up but thank you so

2768
01:47:42.880 --> 01:47:44.639
much to everybody for joining us thank

2769
01:47:44.639 --> 01:47:47.520
you for stay happy stay safe keep

2770
01:47:47.520 --> 01:47:49.520
creating and thank you for supporting

2771
01:47:49.520 --> 01:47:51.520
our programs this afternoon hope to see

2772
01:47:51.520 --> 01:47:54.480
you at the next one thank you everybody

2773
01:47:54.480 --> 01:47:55.520
hi

2774
01:47:55.520 --> 01:47:57.840
thank you

2775
01:48:01.520 --> 01:48:04.159
excellent

2776
01:48:04.719 --> 01:48:07.719
oh

2777
01:48:36.880 --> 01:48:38.960
you