Hi Welcome to the Art and Science of Drawing series My name is Brent Eviston and I’m thrilled that you’ve decided to join me here to learn to draw. Drawing is such a fascinating activity what we’re really doing is smearing dirt or pigment around on a page in order to trick the mind into seeing images objects spaces and to even have an emotional reaction What this series is designed to do is to replicate the experience of coming into a studio and taking private lessons? what you’re going to get in this program are some of the most powerful drawing tools and concepts distilled into a User-friendly format. All you’re going to do is watch one video each day Do the assignment and then watch the next video this program is designed for people who are either? Absolute beginners who really want to get good at drawing or for people who have drawn possibly for years? Who really want to engage the fundamentals to improve their skills? learning to draw will help you with your painting it will help you with fashion design with Architecture with really any creative endeavor that you want to engage in particularly for painters if you want to learn to paint Learning how to draw it’s going to be one of the most powerful things that you can do so again Congratulations. I’m thrilled you’re here, and I’m thrilled to be your instructor while you learn this beautiful and compelling craft of drawing you The materials we’re going to be using are really basic. I’m just going to be using a drawing pencil I actually really like to use black colored pencils And I’m going to encourage you at least for this basic skills week just to simply use newsprint I would recommend 18 by 24 inch newsprint and I know that seems pretty big but one of the things you’re going to learn at the very beginning today is That we’re going to be doing a lot of drawing really from our shoulder and the larger format paper Really helps us to free up our strokes while we’re drawing I would also recommend getting a drawing board of some sort the reason I recommend This is drawing upright I can often be a much easier way to engage The concepts and yet the tools and techniques, we’ll be learning here And you can see my drawing board here in the background I have a basic one drawing board with some clips at the top to hold the paper But even a simpler drawing board will do one of my very favorite things about drawing is that the materials are very? Accessible and inexpensive so if all you’ve got is a Small Pad of paper and a number-two pencil that will work just fine as well what’s much more important than the materials you’re using is your understanding of the concepts and practice practice is going to be really critical drawing is a skill and even if you understand intellectually what I’m talking about the practice is an essential component because Intellectual understanding doesn’t always translate or doesn’t even often translate into the physical skill of being able to do something So in order for this program to work you really have to be willing to practice And you’re going to hear me give the minimum amount of practice after each session But I would highly encourage you to do To go beyond that if you practice or twice as long three times as long as I’m recommending That’s all going to be beneficial and really your success in this program is going to come down to practice The biggest elephant in the room when we start talking about drawing is The idea of Talent I have so many students coming into my classroom or my studio Who tell me that they are there to? Discover if they have any talent for drawing so I’m going to get this right out of the way at the very beginning drawing is not a talent drawing is a teachable and learnable Skill if you can learn to read or write you can learn to draw I’ve been teaching drawing for almost 20 years now I have had literally thousands of students my youngest student has been three my oldest student has been 87 and Not everybody becomes Masterful at drawing the one thing they all have in common. Is that they all? Improve one of the other biggest myths that we come across is this idea that The best drawers are the ones who get it right the first time? when we Look at a drawing It’s easy to get caught up in a finished drawing in all the detail and all the beautiful lines and all of the beautiful strokes and It’s really easy to assume that that All the artists made they just started off with these beautiful dark lines And I would actually likened an artist to a magician in the sense that when they perform a trick Hopefully, you don’t actually believe Magic has been done once the magician explains. How the trick is done it becomes obvious and drawing happens in the exact same way, we are performing a series of Almost tricks that allow the viewer to see something on a page And if you don’t know these tricks if you don’t know these tools and techniques the process of drawing can look magical even miraculous But once you understand the tools and techniques involved drawing becomes demystified So the very first thing you need to learn about drawing has to do with this misconception that Good drawers get it right the first time They don’t what we find when we look at master drawings. Is that artists are starting off every single drawing using? Incredibly light lines even the greatest masters of drawing who have ever lived Didn’t get it right the first time and when we look closely we can find evidence of these very very light lines Usually around the edges of the drawing and many of these light lines get covered up as the drawing is finished But in almost every master drawing you’re going to see if you look closely you can find evidence of these incredibly light Attempts at the form and again, this is something we can see across Times when we look at drawings you will see over and over and over again the best drawers Starting off their drawings with these incredibly light lines and adjusting along the way I’m going to start off showing you actually how to hold the pencil the way that you’re going to see me holding the pencil and It’s not that you have to hold your pencil this way there isn’t a particular right way to hold a pencil But what is important is that you find a way to hold the pencil? That you can get really light soft lines from the beginning here is how you’re going to see me holding my pencil I’m right-handed, so I’m going to put my right hand up with my thumb facing up and I’m going to place my pencil in between my thumb and forefinger about an inch from the Tip of the pencil and now you’re going to see me just wrap my fingers around the pencil This is called the Overhand Grip and this is the grip that you’re going to see me use Probably 80 to 90 percent of the time while I’m drawing the reason I really like this grip is Because it allows me to engage the side of the pencil so when you see me draw in a few minutes You’re going to see me making these incredibly light soft strokes And that’s because it’s really easy to engage the size of the pencil and so this allows me to make broader Hazy your lines at the beginning It’s virtually impossible even for the best stars in the world to nail the exact form in their first lines on the page The metaphor I often talk about is this idea of a lump of clay you want to think of the first marks on a page Or really as the way a sculptor thinks about a sculpture you have a lump of clay and the sculptor does not put a lump of clay down and Get frustrated that it doesn’t look like whatever they’re trying to sculpt they understand that the first step is to get a Lump of clay that is Roughly the size and maybe starts to hint at the shape but over time the Sculptor slowly shapes this clay Into the form they’re looking for and we’re going to use the same metaphor So the first marks that you put on your page are not intended to be a perfect representation You’re simply putting something down on the page. That is very very light and very very soft that you are eventually going to sculpt into the form that you’re looking for Now the drawing you’re going to be doing is going to come from your entire arm. So I’m actually moving up at the shoulder You’ll notice that my wrists and my fingers actually Move very little most of the motion is coming from my shoulder and a little bit at the elbow now when you’re first learning to draw lightly I’m going to encourage you not to try and draw anything what you’re really trying to do is just get used to what it feels Like to use the pencil in this way to make these incredibly soft hazy lines I’m going to make just basic swirls. I can practice drawing lines that are straight I can practice drawing lines that are Curving, but the entire idea is that we are making lines that are just whispers of a line? so I’m going to show you a few things of what not to do many people are tempted to hold their pencil in the Tripod Grip like this and The reason I don’t advocate that at the very beginning is because again it engages the tip of the pencil And when you’re engaging the tip of the pencil it can be harder to make maybe really light lines Now if you really do want to use something closer to the tripod grip one of the things you can do is hold the pencil further back and that takes some of the weight off the off the tip But whenever you’re using the tip you’re going to get harder lines One great way to practice is to make figure eights So a few other things you’ll notice about the kinds of strokes that I’m using here They are very large and fluid strokes after Today’s assignment. You should have a lot of pages that look like this I would encourage you not to use any fancy paper for this you should use. You know some kind of newsprint or basic Simple sketching paper what you want your lines to essentially have is you want them to be very easy to see and clearly visible when? You are right in front of your paper, but if you hold your paper back 10 to 15 feet they should almost entirely disappear now again finding your ideal line wait It’s a very personal thing but again the most important thing is you want to comfortably be able to see them and work with them? When you’re right in front of the page, but you don’t want to go any darker than that the further we go in this process You’ll see that the lighter lines You’re comfortable using the more opportunity you have for adjustment as we move through the drawing process So I know this is a rudimentary place to start But I really want to communicate you how important being able to comfortably draw lightly is the whole idea is that a drawing is going to evolve over time and The lighter your lines are at the beginning the more time you’ll have to adjust your drawing as the process goes on You’ll know when you’ve practiced enough when the light lines become your default so for most people most of the time when they get a pencil or a pen in their hand they immediately think about it as A writing tool and they try and have an even pressure well We’re trying to go for is that your default mind your natural reaction to getting a pencil in your hand is to make Incredibly light marks with it and we want Darker lines to have to come as a conscious decision later on in the process so I’m going to recommend practicing a minimum of 30 minutes of just moving the pencil around using long fluid strokes to produce Incredibly light soft lines so here the learning outcomes you’re going for you want to be able to produce light Soft Lines and you want this to be a comfortable? Thing for you where you don’t have to think about it where these kinds of light lines Just become your default and it actually has to be a conscious decision to make a dark line So that’s what we’re going for and you want to figure out? Your ideal line weight and again that is a line weight that is as light and as soft as you can make Where you can comfortably see the lines on the page but from 10 to 15 feet Back from the page these lines almost completely disappear So happy practicing, and I look forward to seeing you again on the next session. Thank you.