Drawing: Add Texture, Patterns, and Details
Once we've got basic color, we're going to just to re-emphasize certain things, and here is where you can have a lot of control 'cause it mark, Oh, sorry, just emphasize control and then my pencil broke. You can emphasize details with color, a pencil, and you can get a sense of depth, and all those chunks of hair that you designed, and you can also go back and reshape her face a little bit if you drew really lightly, and go in and emphasize the cosmetic part, even the tip of the nose. And also, at this point, we can start thinking about adding texture and patterns and details. Okay. We talked a little bit about texture with the metallics, but for texture, probably one of the easiest things you can do is roughen up the surface because for the other red, this looks very flat. It looks like a very smooth fabric, but if we wanted to get sort of a more velvety feel, we would go richer with the pencil on top of the color and I use the pencil on its side, and I create this little ovals becaus...
e I'm constantly blending and I don't want any lines. So that can make color look very rich and rough. (clears throat) But I can do just the same thing except using the harder point and think about putting a pattern. When I do these demos, the outfit's looking very crazy for mixing all the different things. Come up with some doozies over the years. But doing sort of red-on-red for a pattern, introducing maybe, actually, let's try the gold. You can start to follow that pattern. Use the shape of the pencil. Right, so you can start to build on the page all the detail that you want. And then, final details in terms of re-emphasizing the shape. Where's my purple pencil? You can do, like if I wanted to do a big pleat, I could accentuate with pencil or if you wanted to see some sort of detail, but it's all monochromatic, you can use the pencil to do those finishing details. It's a just little bit of a hodge-podge right now, but I think we get the point right?
Jay I wonder if you could pull up, if we could pull up that last slide where you're talking about patterns and textures and details, just talk a little bit more about how important those are in terms of getting a little taste of that onto the sketch before you take your next steps.
So you mean?
Just getting those textures and patterns and details like you were showing us.
Just the importance of it.
All right, I'll just work on swatches because when you're doing texturing color another thing you wanna do is swatch out what you're gonna do. So to use one color as an example, you wanna, for instance, if you wanted to do we saw earlier that sort of tweedy color. So you can do crosshatching. We did the texturizing, but you can do crosshatching, which are basically little broken lines and then the other way, so you're creating this grid, but it's not quite finished. Then you have a more looser, rougher weave. If you wanted to add those little specks you can little pops of dots and that's if we wanna keep it all the same color, but if you wanted to introduce another color into it, like the tweed had, you can accentuate with a couple of lines and a couple of other pops. Okay? Or it can be a print that you define color-on-color. And obviously you can mix colors as well. But all working with the same swatch and we can just texturized, for instance, that it was like a cut velvet shape. A lot of people feel when it comes to pattern and color you have to do a lot of mixing, and you can, but you can do so much with just one color way. So this kind of gives you a taste of the most basic way to approach it, but I think what I'd really like to emphasize the most is to have fun with it and break it down into the shapes and the pieces and also test. Because this, for instance, the sketch we created, there would be maybe 10 or 12 versions before we get to one that we're actually happy with. So we wanna think, do I change her hair color, do I render it better, do I pull something out, do I add something? All those kinds of things and iterations are something that a lot of people are scared of doing because they feel like they should be able to get it on the first try, and the best things come from that process of repeating the whole thing.
What about a beautiful being, Jay, and way to wrap up this lesson, which was absolutely awesome, and the feedback and conversations in here are great. We have Shirley, who has actually taken a class with you in the past, and she was so excited to see that you were coming here on CreativeLive. So thanks for joining us Shirley. But what I really loved about that in that one lesson that you were able to take us from how to draw a face to the body and proportions and different ways of thinking about the proportions, and then start layering the clothes on top of that, the silhouette and then the shapes and the patterns and the textures, it was just like this freedom of okay, if I focus on these building blocks, I can do this. And that genuinely is like you're genuinely showing us all of these years of experience and making it a lot more simple. Right ladies? They're still working. They're still drawing things. (laughing) It's so cool how we all talk about I'm afraid to do this, but just letting yourself do it.
The other part to that is kinda like I showed with my student sketch that looked kind of alienish, the whole idea that you can modify this. Because when I draw, this is one version of how I draw. Very sort of flat and very much almost like a technical drawing, but then I can also kinda go much more exaggerated and just depending on what it needs and what style you like. All this can be expanded, contracted and you get to play with it however you need it to work for you.
And play. It should be fun.
Yes, yes, well we'd love to check in and if our studio audience doesn't mind kind of showing where you are and what you've been what you've been working on, that would be awesome. Oh no, come on, we're all just starting. I saw you pause Margot, pause and you were just focused on listening, which is great as well. But does anyone wanna share? Kenzie, just hold it up so we can see what you're doing. We've got Cobrin over there with, oh right yeah, here you go.
Okay, I was more kind focused on, I can kinda see the lines to this one. I think I sketched the original body a little too light so tracing was a little harder than I think it should have been. I think my difficulty was definitely in reflecting the face like the eyes. I saw what you were saying about not making the pupils cross-eyed, 'cause I did that. But yeah, I don't know it was fun kinda messing with the marker and seeing that within the same shade you could kinda make a texture like you were just showing. It made it look, I felt, a little bit more like taffeta. You could see the folds in the fabric, which is cool 'cause that was kinda accidental at first, but it worked. So I like it.
Anyone else? Pat I'm gonna call you out. Show us where you are. (Pat speaking off microphone). And then if somebody can hold the mike for you.
Well, so I did a face. My face.
Oh great, that's wonderful.
And how was that based upon what you had experienced in the past?
Perfect, perfect. At first the head looked very tall then as soon as
You brought in the hair.
it became hair, then it made sense. You can't sketch without thinking of a design, so I did a little design.
That's pretty cool.
But I've sort of left out her legs, but I'll work on that later.
Usually what we go over here is usually a semester. (laughing) But I think we hit on the most important part, which are those foundations strategies.
Mine's a huge, I'm a mess. My god these are really fun. I was just messing around. I can actually draw a person though, it's crazy. I've never done it before. I kinda drew a person. (laughing) Oh, sorry.
Excellent, the face. I mean I think when you have that face they become a little bit more real.
Yeah, it was so much more fun to draw out an idea now that I can actually draw a person. It was so fun.
It was also your person and for people who, I always encourage you to create your own croquis which is that figure underneath, but there are templates out there. You can get them online or there are books, even notebooks that have them already printed in. I think those are fine if you're just working out details, but a lot of times I think it's important to go through this process so that you can get a feel for what you like even. Because you may draw a sketch and you may go I don't like her shape or I don't like the length of her, how she's broken up. It can inform a lot of other things. That's why I love this 'cause it's, like you said easier, it's kinda a little playful, and it's also a chance to experiment. Nothing is set in stone from the very beginning and the great thing about sketches, especially doing tracing paper, you do version after version after version.
So there is a woman who's done croquis with different figure types for designers and they're very helpful. They're working with a client who has not the ideal figure to show them really what the garment would look like on them.
I think just realizing that it's not gonna start out looking exactly like a face or body is super helpful because you see so many people who are very artistic and can just kinda whip it out and it looks great. And you're like, oh yeah I know what that is. But learning it starts with a more boxy shape and smoothing it out was incredibly helpful.
And like I said earlier, that allows you to customize everything. With this drawing there's so many things as I was drawing that I was thinking oh I would change that and I would change that, even during this process at this age.