This short drawing tutorial will teach you how to blend pencil with a bristol brush. By using various types of bristle brushes you can really blend shadow shapes in a soft realistic way.
I wanted to take a moment to share part of a Master Class lesson featuring the sketches of Isaac Levitan. As you know I am a big fan of landscape painting. Most likely because most of my past illustrations had a landscape in the background.
When it comes to drawing a small head on a figure it can be pretty daunting. However when it comes to drawing facial features that are mainly on the shadow side of the head, that can be even worse.
In this video critique of the week we help out Hillary with her life drawing. To quote Hillary, I was going for a precise likeness by searching for shadow shapes, but once the drawing looked like her, I didn’t know how to develop the forms.
Coe’s Sketchbook drawings really inspire me, specifically their line drawings of birds and other animals. The line used to draw birds is spectacular and only improving with each passing week.
I discovered the work of Isaac Levitan roughly one year ago. I wish I knew of his work back in the day when I first started working as a freelance illustrator. Isaac Levitan is a master landscape painter. You can really see in this one painting how he captures light.
You can really see the progress Dennis makes in his sketchbook. Towards the end his drawings just take on a whole different feel. They becomes much more relaxed. Dennis’s drawings look much more refined.
In case you have not noticed I am a big believer in repetition in the mother of skill. I tend to teach the same things over and over again because they work for me. I have also seen these techniques work in the classroom on a weekly basis. The main crux is to use targets to start fitting the head onto the shoulders.
Dan has got to be one of the nicest people I have ever met. He is extremely talented and very respectful. I really love having Dan as a student is class. His appetite for learning is so infectious. Dan is always asking questions, always looking for more feedback on his work.
On paper it sounds easy to draw the correct proportions of the figure. But as we have all found out the hard, getting proper portions is very difficult.
From critiquing artwork in the members area I often get questions concerning modeling. How to make the transition between values smoother. A lot of artists struggle with having their drawings look too rough in the shading department.
I knew right off the bat that I was going to ask Delaney is she wanted to film a sketchbook video, I was so happy when she said yes. I think it’s important to see a sketchbook like Delaney’s. Mainly because it shows no fear.
Have you ever wondered why your figure drawings look stiff? Perhaps they look too stylized for your liking. The antidote to stiffness is eliminating all straight lines. Straight lines on the edge of your figure drawings without a doubt create a stiff look and feel.
I recently added a twenty-eight lesson figure drawing course in the member area of Drawing Tutorials Online. I wanted to share with you some of the lessons over here at my blog. This first lesson in particular is very important and will certainly help you improve.
I’ve had Emily’s sketchbook video on my iPhone for quite sometime. I’m about to start filming my current student’s sketchbooks this week. So what better time to post Emily’s third sketchbook. What can I say, Emily was the heart of her class last semester.
I would have liked it if Shannon was a student in my class when I was a first year student. Maybe I would have learned something about line quality.
Emily was a student in last years foundation drawing class for animators. I really miss having Emily in class this year. She is a massive Beatles fan with a with a great sense of humor.
In this screencast portrait drawing lesson I share with you how I think about the structure of the lips. Thinking about the structure of the lips is completely different than using angles, shapes and tone to map out the lips on paper. The key element to keep in...
In this screencast portrait drawing lesson I share with you how I think about the structure of the eye. Thinking about the structure of the eye is completely different than using angles, shapes and tone to map out an eye on paper.
Lin was a student enrolled in my drawing class last year at the School of Visual Arts. I guess I can start with the fact that Lin was the heart of the class. She really is the nicest person ever, the hardest working student truly devoted to improving.