How to Draw Hands in Colored Pencil

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hello i'm professor lou welcome to our live stream today we are doing a live draw along in order to do some drawings of pairs of hands that are interacting with each other if you would like to grow as an artist and you can't afford an art class we've got everything you need heard art prof critiques and tutorials i think what's cool about today's subject is that we are doing pairs of hands that are interacting with each other and so you guys are going to have to learn to balance drawing hands and also for shortening at the same time this is going to be so challenging but a lot of fun and we've been building up to this so i think this will be really fun for you guys now if you want to get the reference images that i'm going to be using in today's stream head over to the rprof discord if you're not in our discord you better be because it's where all the cool people hang out the invite link is in the video description below and i have posted the links to the reference photos which are on the art pro flickr page in the news channel so that's where you can find it the links are also in the video description below if you guys would like to see that our flickr collection is high res images you guys can download and use for free so check that out the materials i'm going to be using today is colored pencil you guys can use whatever you want it really doesn't matter whatever you've got around but i will be using white drawing paper colored pencils maybe a white plastic eraser and then i'll show you guys really quickly how to sharpen your pencils the way i do it for maximum effect all right now the other thing to know too is that we also have a channel in the discord that is hashtag draw alongs and this is the poststream party where we all hang out and you guys get to post what you make please draw along with me it's so fun for me to see what you guys create so i'd be happy for you guys to do that okay so let me show you guys really really briefly how i actually sharpen the pencils because it is really handy to do that a certain way okay and by the way the links to all of these pencils that i'm going to be using they're in the video description so if you guys want to see in particular what i'm using these are prismacolor colored pencils it's the premiere brand and i have a bunch of different earth tones i've got like sepia and sienna and actually today what i did not do last time is i actually put in some bluish colors so for example i had indigo blue and also have violet because one thing i didn't like about the black colored pencils is i just felt like they looked really dead and so i'm hoping that using the purple as a dark tone will help spice up the color and maybe make it a little bit more saturated okay so what i do first to sharpen my pencils is i just sharpen it in a regular pencil sharpener which is really easy but then what's really nice to do on top of that is you take a matte knife and i like to shave it up like this so that way i have more of the colored pencil exposed and that is really important if you want to be able to do bigger passages of tone because one thing i don't like about colored pencil is sometimes the sharpness of the tip makes it so people are not as quick to do tone and sometimes they get really uptight and so having this really long bit of the pencil showing really clearly makes it much easier for you guys to do that okay so now what i'm going to do is just on the side of my drawing board you guys can see i've taped this piece of sandpaper and so what i do here is i just take the side of the colored pencil and i just rub it against the side of the sandpaper and this way the edge of my colored pencil it's a lot smoother and so that's also again important for doing the tonal passages and you do have to do it on an edge like if i put sandpaper here and i try to do it it's not going to work out so well okay so let's put that there and let's pull up our first reference photo and also our timer and i definitely need to warm up because i have not drawn at all so let's just start off with a quick warm-up five minute pose nothing fancy just to get us moving a little bit as you guys have heard me say before so much of drawing is physical interaction and engagement okay so let's start with five minutes oh and by the way you guys the way i run these streams is when i'm drawing i will not be looking at the chat but what i'll do is in between poses i'll stop and i'll look at the chat i'll answer questions so if you guys have things you want to talk to me about just type them into the chat and i'll go back and look at what people have done okay cool so let's start with a five minute pose and again this is just to warm up okay no expectations at all okay i gotta pull up my reference photo and then we can get started okay here we go this is tougher guys because we have two hands that are interacting with each other this is not the same as what we did last time and i would say the trick to this is to draw the two hands together you guys are looking for the major masses which is the palm i gotta do better with the thumb guys i did not do well with the stuff last time so this time i'm gonna really pay attention and i know it's probably hard for you guys to see what i'm drawing but it's like that on purpose it's like that because if i draw too dark it's too big of a commitment and i don't want to do that i want to make sure i give myself the time and right now i'm not really drawing anything good i'm more just moving my hand around and getting the basics in there and if i don't get very far in this three minute drawing i'm cool with that that's fine okay in this thumb you guys can see there's a pretty dramatic joint and here i'm gonna draw the division of the palm and get the fingers and i'm looking at the length of the figures i'm looking that the middle finger is significantly longer the ring finger it's poking up a little bit and then the pinky sort of smushed up there and now here on the hand that's over the other hand i'm gonna make the middle finger very prominent because it really sticks out a lot the other finger the pointer finger it's a lot shorter and so that's one thing you guys can do with the fingers is just look at their length in comparison to each other because you know something guys there's no correct length it's how does it look relative to the other components in the drawing like nothing else really matters so you guys have heard me say before that all that measuring it is not necessary because if you can measure with your eye it's faster and i do think it's more reliable okay so let's get the upper part here of this arm and i'm trying to place the wrist a little bit more get the joints and maybe show some of the compression that's happening here's the plane of the thumb and tell me in the chat who here is drawing along because i just love it when you guys draw with me it's super fun and i just think it's so exciting that we can do this together that somebody in switzerland could be doing this i think that's extraordinary okay i'm trying to work out the segments of the fingers a little bit better and i'm looking at the individual segments and i'm looking at where they cross over each other like we talked about in that foreshortening video about the importance of overlapping things that certain forms on the fingers go over other forms and so if you start to really show that a little bit more visibly that's pretty helpful okay i'm already making revisions okay this is such a short pose but that doesn't mean that you guys can't start changing things up don't settle for loss tell yourself that you can redraw something multiple times i think when people settle on things too fast it's not good because then you're not really seeing i mean i never nail it the first time are you kidding it's more like on the tenth time is a lot more realistic okay and then i'm trying to make this middle finger more prominent because i feel like that's a pretty major part of this pose and then here's like an overlap where you see like a little flap of skin that's going over the pinky and let's get the pinky in relation to that look at this metacarpals at the low metacarpals they saved my life if there were metacarpals there well you might have no hand you would just have a pile of flesh like that wouldn't be so good but the metal purples really they're they're so helpful you guys will also notice that i'm drawing one hand through the other hand so one thing i talk to people a lot about is pretending when you're drawing that you have x-ray vision you're going to see through the objects you're not going to try to draw around objects i think that's a pretty big difference okay all right so that's my first warm up and you know what i am not warmed up so i think what i'm going to do is we'll do the next pose as a five minute and then i'll do it again as a 15 minute okay so let's reset this as five minutes let's move on to the second reference photo and again this is going to be a warm up let's actually do a little bit longer than five minutes maybe like eight minutes would be better so that way i give myself a little bit more time okay i'm gonna maximize this and pull off the sheet of paper i actually made it to the art store this week i was very excited i mean it was like a real art store like i went to joann fabrics which is not the same thing i was like scandalized by paying all this money for this pad of paper okay so let's start out we're gonna do an eight minute pose for this one and let's get going okay if my computer would cooperate i would be able to get going okay here we go all right oh man you guys this one is not easy this is really hard what i'm asking you guys to do today i'm asking you to bite off so much but you know what that's okay i i think you guys none of this i'm gonna wait until i'm good at this to do something else you should just do it now like why are you waiting like life is too short to wait until you're good at something to do something else i hear that a lot people say oh well once i get better at this one skill then i'll let myself start thinking about something else and it's like think about being an artist it's like a full package it's not piece by piece and everything interacts with everything else so don't tell yourself that you gotta qualify to do something you don't qualify for anything it's like if you feel like doing it just do it you don't need anybody's permission to try something and it's okay to struggle through something and feel like something's hard like that really is fine i mean i don't know i sort of like the challenge i i feel like when things feel too manageable it's not very fun for me and so this pose is a pain in the butt like who else is going crazy with these fingers like mine just looks like a big blob okay what i'm gonna do is i'm gonna get the pointer finger and this hand i'm going to use that as an anchor because with something like this if you don't have something to anchor the drawing it's a pain in the butt and you can go back in and fix it so it's not the end of the world but for now this is my reference it's this pointer finger that's right here okay and then this pointer finger on this hand i'm going to use that as the second anchor and i'm going to build that off of the first one oh you guys check out that overlap nice okay and then here it's like there's really visible joints on this hand and ooh i did not give that enough of a thumb okay i'm gonna move that over so you guys can see that a little bit better yeah like this whole section here i totally made the palm yeah oh man that was way too small okay let's get that bigger and then get this angle this other hand better and there's like a lot of compression of the skin in this area you you have to pick out like particular parts of skin that say something about the compression because there there's like a lot of compression like the slush is all like bunched together in this area and so i really want to be conscious of like this section like this bunch of folds that comes out from underneath the thumb pretty important and i hope i can squeeze these little fingers in here i might have put this pointer finger a little bit too far but who knows okay so here's the top segment of the middle finger take advantage of those joints phalanges if you guys did your homework you know what i love about you guys is that you're not here for a grade you're not here because somebody told you to be here and yet you guys are doing the work i mean people are like taking notes during my anatomy lectures people are drawing along and that's amazing because you know something i love teaching in brick and mortar classrooms but the whole grade thing is kind of a big bummer and i i do feel that sometimes people are motivated solely by the grade and not because of the love of learning which is the way it should be and i know it's hard i mean in academia there's so much pressure for that but i i just really like that people are here because they want to be here and that you guys are doing such a great job and really applying these things okay so that's a pretty good beginning now i'm gonna start to solidify like especially the wrist there are these really cool wrinkles that come up and don't underestimate those the wrist is such an important point for you guys to emphasize if you don't have the wrist you don't have the connection that's going on with the rest of the hand so don't underestimate the importance of that i do think i'm going to do a little bit of fingernails because the fingernails they're actually very important because you really can tell the angle of the fingers like up here you hardly see the fingernails you just see the side view and they're just not as prominent so even though the fingertips might seem like they're not that important they really do say something about the point of view and what it is you're looking at okay this thumb that i'm drawing over here this really juts out a lot and i think i did not make the thumb substantial enough but i really want to push does everybody see like these wrinkles that come out underneath the thumb like this and then this is at a more dramatic angle okay so i have things mostly laid out i'm gonna come back and squint a little bit because i feel like something's going on with the palm of my hand and you know let's move over here i think that there's not enough going on because it's sort of like these wrinkles that are like moving across and going down so let's make yeah like this part of the hand should be much more substantial if you guys can see what i'm doing like this is a really like big massive form so i want that to be a lot more dramatic and then these like two veins that come up the top those are really strong and bold um these two fingers are funky i feel like this one should be a lot higher this one should be lower like this so you're really you're making comparisons okay you're saying to yourself how high is this finger compared to this other one and then this joint let's make this joint stick out a little bit more because i feel like i didn't emphasize that enough so you can see there's like very particular things that you're looking for it's like what's the priority what are we really after right now this sounds really morbid but like actually one of the ways that i think about drawings i say like where's the emergency like if my house was burning down what are the first things i would grant my kids and i'm sorry to say my laptop like that would be the first thing but it's like that's the way you think about your drawing it's like what is the most important thing like what do i absolutely need right now that is going to get me through to the next step and that oftentimes is not things like veins or things like one little flap of skin or some of the lines and the knuckles like that's not really gonna help you that much but this other stuff like the overlap like this finger goes on top of here and then this finger there's like a little bit of compression on this side and so that really does communicate much better some of the stuff that's like essential like what do you have to have what can you not live without it's kind of like packing actually i hate packing packing some pain all right guys so there are two warm-ups there i think what i'm gonna do now is i'm going to take a look at the chat answer some of your questions and then we'll do some longer poses okay so let me get back to my chat angle and i'm gonna come up here and see what you guys are talking about okay let's see what are you guys saying in here and ask me questions particular things that you guys want to know about because now is the time for me to check out what's going on wow we got a lot of people here tell me if you're drawing along or if you're just observing i mean either way is like totally fine it's up to you guys kane feathermore is saying love to draw along with you samyukta is going to go grab their sketchbook very good and weeaboo creation says i love drawing along as well best art class i've had thank you so much very cool and yellow hat arts is saying i'm so glad i can be here i've been missing these a lot and scott gilley saw the title for the stream and i hope you freaked out in a positive way hopefully we'll see lunaire is drawing along so glad i could make it to stream live in germany jojo brown is asking do you think it's okay to put these warm-ups in a portfolio jojo i'm going to assume you're talking about an art school portfolio probably not i mean i would say you can definitely have gesture drawings in your portfolio but for me at least that five-minute pose is not really enough so you might want to put in something that's a little bit more substantial like maybe something more like a ten minute pose or another thing you could do is instead of having one pair of hands you could have like a whole page so sometimes that's more fun because people get to see more of the drawings sometimes if you just have one image and it's one gesture drawing it's not as fun to look at because the image is not as finished so just keep that in mind because i think that um sometimes just one drawing is not really enough by the way if you guys do draw along with us please post on instagram tag us art.prof and use hashtag rprofshare i love it sharing your stuff in our instagram stories because it's just so cool you guys to see what everybody is up to fivel is saying i just came in here a few days ago i'm wondering how do you decide where to start well we did do this tutorial on how to draw hands and to give you the shotgun version of it you start with the big masses so things like the palm the metacarpals which are these bones that are right here because the biggest issue about drawing hands is people get really obsessed with fingers but fingers are not very important if you don't have a palm you're having trouble if you don't have a bomb so i would start with that i think knuckles are really good like look at michael fassbender's knuckles he's got great knuckles i mean he's got other great things too but i really like his knuckles so look for knuckles look for metacarpals and that's the way to go and also the wrist the connection of the wrist from the hand into the arm is critical like a lot of people they draw hands but they don't include the wrist and i think it's important to contextualize the hand so you really can see that a little bit better some yukta is saying any tips for drawing lighter yeah drawing lighter is so much harder than you think it should be like you sort of say oh draw a lighter that's not a big deal it really does take training and it takes a lot of practice i think the way that i would describe it is when i'm holding my colored pencil i'm not really holding the colored pencil it's more like the pencils on the paper and i'm just pushing it around and so i think what a lot of people think about when they have a pencil is they think about like grip like this but i'm not really gripping it i'm just sort of it's just sort of there and so if you think about it not as a grip and just as pushing the pencil across the paper that's easier but it is hard i mean it's not something that you guys will learn immediately so don't give yourself a hard time if you're having trouble with that joshua is asking can you draw an ink i will at some point if you want though in our live drawing tutorials playlist i did do a stream a little ways back where i did these ink drawings from the twilight zone so cool i love that episode and so you guys might want to check that out because i do talk about very particular things that i think are really useful in terms of thinking about that let's see what else are people saying w315 says i'm trying not to use actual long lines but without them i'm slow marking edges by sketching the shadow behind it i think w315 what you might try i don't know if you guys have noticed but when i'm doing that initial gesture i don't pick up my pencil my pencil just keeps going and so even if i want to jump to another section of the drawing i just keep going and i think the thing is if you only have two minutes five minutes to draw and you're picking up your pencil after every single line you really miss out on a lot and then another thing is if you keep picking up your pencil your line will not be as fluid it'll be a lot choppier and so when i sit down to draw you'll notice that i don't pick up my pencil and i think that's a pretty big difference for a lot of people jdk wants to know what kind of paper and pencil do you use okay well let's look at some of the supplies so the white drawing paper that i'm using is strathmore it's 18 by 24 regular white drawing paper and the color pencils i'm using these are prismacolor premier and if you guys want information about the specific materials all of those links are in the video description below so you guys can check that out sandpaper doesn't matter whatever fine grit you've got some type of utility knife something like this is good for sharpening and also i don't use this very much but if you want i just have a white plastic eraser the brand i happen to like is staedtler i mean whatever you guys want to use but sometimes i just have this handy although i don't usually use it very much but really you guys can use whatever you want i mean this is so basic it's just straightforward drawing so i don't think it matters quite that much kate is asking what are the extra colors this week yeah so last week i used mostly browns and siennas and i also had a black colored pencil but i was looking at the drawing i did at the last draw along and i don't like the way the black looked i feel like the black was a little bit too dull and i feel like i lost a lot of the vibrancy of the color so what i was thinking today is i would use like a dark blue and a dark purple which is close to black it'll give me the dark contrast that i'm looking for but it won't be so dead so these two colors i have this one is indigo blue and the other one is violet blue but really anything that is a darkish purple will totally be good for that okay let's see kappa says looks like michael fassbender oh i guess we gotta pull him up because you know some people don't know who he is and we have to make sure people are educated here right she said or they kappa i don't know um your gender looks like michael fassbender is giving you quote the look i know he's always giving me the look i just love it i didn't get to watch anything of his yesterday like usually i'll just like sit and watch jane eyre because i've like memorized that movie but i don't need time to draw yesterday so i didn't get around to it is learning how to draw fat sausages all right good you know goals whatever goals you guys have i'm totally on board for that and neil is saying i don't want to deal with the mess tonight so i chose graphite instead and neo will learn about michael fassbender because you see when you guys hang out with me at arprov you learn you know you like you learn things about the world that are important like about hot white men like they're so important they definitely have their place here uh raw nook says clara has been tweeting michael fassbender weapon yeah my last few i think my google searches are very funny because i'm like doing work for an anatomy slideshow and by the way this thursday i am going to be doing a stream about faces using i know female figures i know i had to do females at some point i can't just always do hot whiteness i have to diversify right so i'm going to be doing that but so when i'm searching for images i'm like okay albrecht dur hands rembrandt etching and then i'm like oh i need a foreshortened view of michael or chadwick bosman and so i'll just go in and i'll be like oh i think i need to do chadwick bosman jumping or if michael fassbender has a weapon then maybe i'll get a good foreshortened view so it's like if anybody looked at my google search history they'd be like what what's wrong with you and brooks is asking how do you feel about kneaded erasers i like kneaded erasers a lot better for softer drawing materials like charcoal because the kneaded erasers they're not very strong they're a little bit wimpy but they're very good when you just want to lift a little bit like this eraser this white plastic eraser this is not good for subtlety this this is like if you want to just like crash out like a huge area and just like wipe out a big area of tone but this is not good for that and so what i typically try to do is i have both on hand because depending on what i'm trying to get as an effect sometimes i'll use different erasers let's see scott is saying i have a hot white man crushing albert durr after seeing his trapsmanship you know i'm just pissed at durr i'm like screw you you and your like 13 year old self portrait it just like pisses me off so like you know it's just one of those people that just makes you angry you know what i mean okay guys let's get back to drawing so let's do a 15 minute pose because i want to make sure i have a little bit more time to do that so let me just go back to my position get out my drawing board and we will get started right away okay so let's go back to my drawing view and i'm going to use the same reference photo so that way i can build that up a little bit more and i think i'll start out with this what is this sienna brown okay that works okay so let's start with that image let me pull up the photo on my computer all right let's remember balkan oh i didn't sharpen this one okay here we go so everybody remember this you just take your sandpaper and you just loosely do this because when i put down the first stroke i noticed that first stroke was really dark and that will happen if the side of your pencil is not smooth enough it's actually really hard to put down a nice light line so part of this is just having your pencils sharpened so that you can get that light smooth surface okay let's move that back over here and now let's get started okay um you know draw the palms over each other okay so this palm this is the mass this is the second mass and i'm really trying to look at the angle this time i feel like the last drawing i did i mean granted it was a warm up but i feel like i was a little bit too mushy and so i'm gonna try to make this more structural than the last one it's hard because parts of the human figure are very stiff and structured but parts of the human figure are also very soft and organic and so it's hard because you can't be too much of one like if you're too geometric then the figure looks too cuby i guess is that a word i don't know or if it's too mushy it ends up looking like balloons and that's not good either so you have to have a combination of qb shapes and balloons whichever one you want i mean that sounds so elegant doesn't it okay this section of the palm is pretty substantial and i think what i want to do is organize this palm a little better and get more of the angle because you know what this arm on this side it looks like it should be straight but it's not it's sort of at a tilt and i do want to get in these wrinkles because they do say something about the angle so if you guys look at this it's the smoothness of the pencil that lets me draw so light like if i didn't have that my drawing would absolutely be way too dark okay let's get the thumbs established because i feel like those are so important to do and like i said last time i bombed with the thumbs last time okay let me move this over so you guys can see that better and then these two wrinkles that come from underneath the thumb pretty important because remember you're looking for overlaps there's a lot of foreshortening like all these fingers are totally foreshortened and you guys have to keep an eye for that okay i'm getting a little lost in here so you know something i really need the pointer finger that was the one that i mentioned earlier that i'm going to treat as an anchor and then that'll let me push up the finger behind it and then there's another finger behind it i mean this is like mega for shortening you guys so you got to keep an eye on that you see that's not tilted enough i i think what i would recommend you guys do if you have the mindset that you're trying to accurately portray what the fingers are doing it it gets hard because then you end up with the very lukewarm version and i don't want that i want a drawing that's dynamic that has energy and oftentimes if you strive for accuracy you're not going to get that you're going to get something that's like meh i don't want to be meh i'm going to be awesome that's great okay so you see here there's this knuckle and i'm just going to draw through it okay like remember tell yourself you have x-ray vision you're gonna draw through things because this finger is over the other one and it's drawing right over it okay don't try to like draw this finger around the other one so there's a knuckle here and this is like very dramatic and then a lot of foreshortening in this section this is overlapping in front of this which is overlapping in front of this okay and don't forget that joint and this finger here okay another joint this is behind so really you guys this is a big overlapping thing okay you're saying where is this form is it in front is it behind you gotta really look for that okay now see i didn't have enough room for this finger so actually i'm gonna pull out this thumb guys make revisions okay i can tell when you're not making revisions because if you look at somebody's drawing and there's only one line for an area you know they only drew it once so i can tell don't even try to get away with it don't be afraid to make those revisions you guys just draw right on top of it that that's one of the reasons why i draw so light because if you draw a light it's not difficult to draw over something but if you guys draw really dark and you make that commitment too soon it's not easy to get rid of it okay it's like test drive a car you know you don't just like hop in the car and say okay i'm gonna buy it like you definitely try it out first and see if it's a good fit okay the fingers got really bulky so i think i need to start to separate some of the segments if you guys think about anatomy really what it is it's like a series of subdivisions okay oh man that is not good the fingers got oh this is not big enough okay so you see i'm looking at this finger up here at the top and how the wrist yeah the wrist is like above the fingers so if that's the wrist here these are the veins and then this is the back yeah i had to like shift my whole palm all the way to the top and so that's where those comparisons are important like if i don't make that comparison i'm never gonna really see that okay so that actually helps me because i did not feel that i had enough space over here on the side so that actually brings the thumb like all the way over here okay like in the beginning my thumb was here but now it's here okay i've already lifted it up like a good half of an inch and i actually do think i need yeah because i'm missing there's like this bony thing that sticks out and then this thumb comes down yeah and so it's really you guys when you're doing anatomy it's a combination of observation and knowing what to look for like if you're looking at a hand you're like oh i expect metacarpals to be there i expect phalanges to be there and so you create an awareness and then you know when to look for them because if you don't know what you're looking at it's not going to work out like you really have to understand okay what is cartilage what is muscle what is bone so it's it's a very unusual combination of different skills you need to have to draw the human figure there's nothing else like it i mean i guess if you drew an animal yeah that would be kind of cool but i don't get to draw animals that much i suppose okay i'm now trying to get this compression here of like there's these two very prominent dark marks and i actually think i'm going to make them a lot more substantial because there's another one here trying to follow some of these forms this is like a little bubble in the middle and there's like another so see this this is one form this is enough form behind it and then i'm getting a little lost okay let's put in this is like really dark wrinkle that comes down the middle maybe if i get that one better established oh shoot i made that way too dark see i don't really like to erase colored pencil that much it doesn't erase very well but sometimes you gotta dig in let's make that more substantial so what i'm trying to do right now i'm trying to navigate all these areas of skin compression and what i am trying to do is to make the skin compression like bulgier like more bulbous than it actually is because again it's up to you guys what you want to do but i like exaggerating things i like things to feel larger bigger more bulbous in real life i mean i swear that's why we like movies because movies feel like more intense in some ways they feel more dramatic you guys tell me if you like i honestly think like most of life is pretty boring like the other day i was like i'm doing laundry i'm doing dishes i'm coming like it's really not that exciting tell me if you had a boring day yes or maybe you had a day that's packed with excitement i don't know i mean i'm okay with excitement as long as it's not like drama like i can live without drama drama is not necessary okay i'm getting a little bit tight so you know what i really have to move on because i'm spending way too much time in that area and you know something i'm going to do even though i don't really think i'm ready i am going to start putting in my rug of tone because i feel like at the very least for this warm-up i just want to at the very least just establish okay what is the lighting situation so that way when i start the longer drawing i'm at least just like a little bit more prepared because i don't want to just do line drawing the whole time and what i do find you guys is that people are too reliant online to explain things for them and so what i say to a lot of students is when you're doing a drawing try to put in the tone sooner like sooner than you think you need it like right now this does feel premature to me because i'm making my drawing very mushy and i am losing some of the line work that i put in there but that doesn't matter that's okay because i'm going to go back in and i'll reframe things i'm just trying to get the form down so there's actually something to do because otherwise it's like you're just grasping for straws okay and the the rug of tone on this thumb is much more dramatic this is like really really dark so i'm not gonna hesitate throwing this down and you guys can see it's the point of this that lets me do the tone like if i didn't have that there's no way i could make such a smooth rug of tone like you would totally see the individual strokes and i just find with tone it at least in the very beginning it's got to start real simple guys you can't let it get all specific in the beginning oh this whole wow this is like all in shadow jeez i didn't even think about it that way let's see okay and then this finger has quite a bit as well see you guys this is why it's so important to have a good lighting situation because if you have a reference photo and you can't see the lighting really visibly you're in so much trouble like i mean that's why i put together the reference photos because i was looking at some of the photos that people who are doing the 2500 challenge with jordan were using i was like these are crummy photos like these photos are not doing you any favors if anything they're making your life more difficult than necessary so i hope for you guys that those reference photos are helping you because wow when you can see the lighting is such a difference and some photos have terrible lighting like a lot of these stock photos that you see on pinterest they look flat like there's nothing you can really do about that that's just sort of the way it is all right and now what i love to do is after i put in the rug of tone is i love going back in and just like re-emphasizing certain areas so i'm just gonna go in like there's some of these areas here where i really lost a lot of the form and so i'm gonna go back in here and just emphasize some of those areas and and really that's what you're doing when you're drawing you're you're killing the drawing you're resurrecting it you're killing it again bringing it back to life i don't know maybe you're kicking a dead horse but i don't know it doesn't matter it's like whatever you need to do okay so you can see this drawing is not even close but it's like the setup is so important and this is not glamorous like the stuff we're doing right now it doesn't look that good and so i think a lot of people don't want to go through this stuff because they're like oh it doesn't look good if i get the details in early i'll feel like i'm actually making progress but you know don't do that resist the temptation because if you guys get too distracted by that it becomes a problem because then you're not focusing on some of the fundamentals that are so critical to getting the drawing going you see like here i lost the veins at the top so i'm gonna punch those back in because you know once you have your rug and tone in place it's really nice it's like it just beefs up the whole drawing and it's a lot easier to pull things out i think a lot of people it's like they sort of do the shading like piece by piece like they'll say okay i'm going to draw this shadow now i'm going to draw this shadow but i'm moving across the whole thing and i'm really layering drawings a lot about layering if you guys are trying to get everything done in one pass it's hard it's really tricky to do all right this finger got very sausage-like so let's make that a little bit more structured oh crap i only have one minute left guys that's the first time i said crap i've been getting control over my my speaking actually that's not the word i i there's a word i i usually use in real life i'm not going to use it because we're going to get demonetized so just use your imagination think about it i'm actually really bad i should not swear so much but i do i can't help it i don't know i know some people are like really turned off by that but i'm like you know nothing really quite does the trick for me otherwise okay like here this is really dark so i'm gonna just mega bulk up this section because i really want to show the difference between those two areas so everything's a series of comparisons it's like how dark is this compared to this it has nothing to do with just filling in a certain degree of tone okay guys that's it for this second pose so let me take a break and i will see what you guys are chatting about okay and by the way if you have questions now is the time to ask oh sorry i didn't move my microphone on that last drawing session sorry about that i'll try to remember this time okay what are people talking about let's see sam merm nine sorry is that paper off-white or is it just the lighting really curious about the paper used it's a little bit off-white not by much though it's not like stark white but some of it's the lighting i mean the thing is the quality of the video because it's a live stream it's never as good as it would be in say like one of our studio tutorials that i edit so unfortunately that is a thing but i'll post later on in the discord and draw along and then you guys can see something that's a little bit more accurate because the drawing does look very different afterwards when i take like a real photo of it that's much much better okay we have mr i'm sorry i can't pronounce i don't know what language that's in what can you use if you don't have the sharpening tool well i mean what you can do if you don't have a piece of sandpaper you can just draw with the pencil on a scrap sheet of paper and if you do that it'll eventually sharpen i mean it's slower but you can definitely do that i mean sometimes i do that as well if i'm just being lazy so that's a lot better eric is saying do you use a drawing board on a table or on your lap well what i have is just a flat boring table and i just put my drawing board on the edge and so my drawing board it's a little bit tilted but it's not really tilted and it's not flat either i mean one of the reasons i draw like that is because of the positioning of the webcam and everything and so if i were drawing and i was not streaming live i probably would draw at a more dramatic tilt but it's a big pain because of the setup and so it's not a really big deal because sometimes the angle is a little bit too weird asthma is saying i'm a student i want to study in germany help me find a university to teach fine arts in english sorry i don't really know anything about the schools in germany i mean i'm sure you can find stuff online so i would definitely check that out and see what you guys can find and let's see scott says trying to do line today mostly because i want to get better drawing stylized comic like characters that i can ink okay yeah i mean what i would try to do scott if you really want to work on your line quality is try to get lines that are of different widths and a different pressure because i find with really good comics line work the width of the line has to shift i think what gets really boring is when the line is the exact same width the whole way through and everything just tends to look really flat so if for example you guys maybe watch our character design tutorial with kat wong she uses a quilt pen and she controls that width it's beautiful so maybe focus on that i think that would be really helpful um we have another comment i'm sorry the names in japanese i can't read it will there ever be a video about where to get reference photos or how to make our own well you know you're lucky because we just did a stream i think four days ago it's a very recent video it was me and kat hwang and lauren welch and we showed images of photos that we have shot ourselves to make artwork and we compare it against the artwork so i'd watch that video because we have a lot of examples for how to do that sam yukta is asking what is the best physician to draw in whatever's comfortable i had this jerk teacher in graduate school he was such a he was such an arrogant jerk uh there's another word that i'm not gonna use it anyway he he used to rag on me about how i stood and i just was like dude what's your problem like everybody has a different body and who are you to like tell people how to stand i mean i do think that there's something to be said about getting up out of your chair and looking at your piece from a distance i think that's very helpful but whether you stand whether you sit it's like who cares as long as you can see the one thing i would not do is put your drawing board flat on the table that's a problem because then you get some distortion when you're looking at it's actually hard to see but everything else is fine easel drawing horse whatever works for you guys because this jerk teacher was like yeah that's why your proportions are bad because you're like standing the wrong way i'm like oh you're such a jerk whatever and let's see sarah says you get those shapes and so fast i wish my visual measuring was more accurate just gotta practice more you know what honestly sarah what's gonna help you just toss out the whole accuracy thing i i think that the more you're thinking about that and the more you're aiming for that you're just always gonna feel like you're off and so if you throw that out the window it's just it gets rid of that pressure and yeah your drawings are gonna be wonky for a while and that's fine it's okay i mean like i'm not here for accuracy i want accuracy i take a photo way way faster weeaboo creation says i oftentimes get frustrated because i started drawing since i was young got serious around 11 studying the fundamentals often yet i'm still not at a level just good enough to creatively express yourself well we about i don't know how old you are right now but honestly it doesn't matter because i think that you're at the level you're at you know and there's no level 10 level 30 i mean it just doesn't work that way and so you may feel like oh my skills maybe are not where i want them to be but it's practice like constant practice like you have to be doing this like you're training for the olympics i mean that's really this like muscle memory that you need to have when you're drawing and it's easy i think to get down because you look at what other people are doing and it just feels like everybody's making it so easy but you know something guys as much as i'm into people being inspired by each other and looking at other people's work because i do think that's important at a certain point you got to turn that off because it can become a distraction to the point that maybe you just feel really down on yourself so what i would just do is turn all that stuff off don't look at other people's stuff just focus on yourself and then when you feel like you're ready go back and take a look at that because it can get toxic and i definitely have been in that situation myself where you just feel like crap looking at other people's stuff it's really annoying neil is asking will we do a live draw along with colored media i would like at some point to do one with chalk pastel because i'm getting a lot of people who are wanting help with that i'm working right now to see if i can get free supplies from a manufacturer because you know pastels are really expensive so i'm hoping to do that fairly soon asthma says can i get your email address to contact you for a guide i'm very confused you can go to ourprof.org and if you click on contact you will be able to find all of our information there so check that out serafina says how do you feel about betty edwards method for drawing for anatomy is she the woman who did that book it's called like drawing on the right side of the brain i think that's who it is if that is the person you're thinking about i actually have never really looked at that book before so i don't really feel like i can give much an opinion but you know that whole right brain left brain like whatever like it's just like you draw like to me the whole brain thing is like not really that important brooks is saying do you recommend experimenting with the way you hold your pencil i noticed that you and other fine artists hold the pencil almost like a knife instead as if you were writing yeah try it out i mean it doesn't hurt like if you try something you don't like it don't do it anymore but i think what you guys will notice is that if you hold your pencil the way you would if you were just like handwriting or something like i don't know about you guys but i grip my pencil with like an iron fist like i have to do that because otherwise i can't get the control but the thing is in a drawing context i don't want to grip it so tightly because if i did i wouldn't have any ability to move around one thing a lot of people say to me when they watch me draw is they'll say wow you use your wrist a lot and that's true like a lot of people will just draw like this and i'm like no you got to have that ability to move things around because otherwise it just to me at least like vastly limits the amount of different marks you can make so that flexibility is very important but again it's like drawing lightly like it takes time you have to really spend time working on that meredith is asking if this were in a live streaming class how would you suggest that students share their artwork with you after these mini drawing sessions good question what we usually do we have a discord which is like a group chat platform here at artprof and so we have a particular channel that is specifically for people to post their stuff after the stream and meredith if you're not in our discord you can join the invite link is in the video description below you have to have an account first though and then you join our prof server and so this is a channel where everybody goes in afterwards and we chat live so i will go over to the discord when the stream is done and we'll show everybody stuff it's so fun okay those of you who have done that tell meredith how much fun we have it's like a little party after the live stream super super cool so yeah let's see joey is saying it helps use the entire arm especially with large arcs or sweeps of motion yep definitely agree with that people think that drawing is like just your wrist and up it's not it's like you really should feel it in your shoulders like it really is like a big broad gesture like if you guys you ever see these people who like draw like this and it's like it's so slow like if you're doing a super detail i can understand that but a lot of people will do that for gesture drawing and i don't think that's a very good idea okay guys let's get started drawing again this time i'm going to do a 20 minute pose and this one i actually am going to spend a lot more time on to see if we can get it further along okay so i'm gonna this time move my microphone sorry about that i totally forgot on the last one a lot of equipment to navigate okay we'll go back over here to this pose and let's see what's going on here and i'm excited for this next pose because it's really cool okay so this is the last one we did the third one is here and if you guys want the links to all of these reference photos they're in the video description below they're on the art prof flickr page so you guys can check that out okay let's see i gotta pull up my next image which is this is a cool pose you guys awesome so excited okay so let's start we're going to do 20 minute pose and this time i'm going to use a slightly different brown this one i'm using this one is dark umber but again it doesn't matter like whatever color you guys want okay and let me sharpen this again because this one is not smooth yeah so somebody who asked earlier if you don't have sharpening supplies you can do this on a sheet of paper it's just slower that's the only difference like the sandpaper has a grit and so you don't have to do it for very long before it makes it nice and smooth okay so let's see if that's a little bit better okay yeah there we go okay all right now i feel ready to go let's see okay by the way you guys this is such a dramatic pose tell me what you think the story of these hands are like if you were to write a caption for this hand what would it be i think for me it would be like zombies coming out of a grave like like that would be really cool okay so this is a pretty tall image i'm going to try to place this well so you guys can really see i may have to draw a little bit smaller than i typically draw but here's the mass of the top hand i'm going to get a little bit of the wrist and the mass of the lower hand is down here i want to make sure you guys can actually see this and there's the wrist okay so that's a little bit smaller now does everybody see the angle of this like i can already tell i made it too straight okay you guys have to really really push that angle so already i'm going to move this hand over to this section like that i got to make it a little smaller though i think i'm making it too big still okay and if that is more the angle that actually pushes this hand over to the right yeah the positioning for this one is not easy guys it's really weird and tricky so if it takes you a while to do it that's fine you know like just take your time there's no reason it has to happen immediately i mean i really think the beginning of a drawing just wandering around it's not anything where there should be any sense of direction you're just trying to see what's going on okay um let me just put in a little indication of you guys this is a nice metacarpal if you guys don't take advantage of this metacarpal i'm sorry this person has really good metacarpals okay now let's get in like this whole section of the thumb that this like big mass is really helpful and then the thumb pushes up this way i'm gonna have to move this down so you guys can see a little bit better and then oh weird okay so the thumb is in front and the pointer finger is behind whoa that's weird okay yeah that that was that does not look good okay this might be a little bit too you know something you guys there's actually a little bit of a size shift you guys see how the hand in the back it's like a little bit smaller than the hand that's here and so that's sort of what i was talking to you guys with the foreshortening where it's like if you know something is in front of something else make the thing in the back visibly smaller and yeah it might not actually be that size but it's like as long as it gets the job done that's the most important thing okay so i'm trying to subdivide this palm and then the middle finger it's like about the same height as the pointer finger but the ring finger is like way smaller and the pinky is like mega for shortened so let's have a lot of fun with that later on guys okay um now i'm gonna do i'm gonna come back and i just squint a little bit and i actually think i made this hand bigger in this hand small so that's not good um i think what i'm going to do is i'm going to make this hand smaller because it's already like going off the page a little bit more than i would like it to so i'm going to pull this down this top part of the palm like this and that's gonna bring the fingers down like this yeah okay oh my god these fingers are doing like the weirdest things i mean that's what i like about this pose you know it's like you look at some of these stock photo places that have reference images and the hands are so boring it's like it's like nobody wants to draw that i don't want to draw that i i would much rather something that's more dynamic and you know like channel caravaggio or like leia who was strangled by snakes because he couldn't get his act together about troy and the trojan horse i don't know i can't remember that story anyway the point is he got killed and strangled by snakes and his sons had to watch that was the other gruesome thing about it okay i'm getting too stuck so what i'm going to do is i'm going to move down and i'm really gonna try to place the connection of this finger which by the way is really foreshortened okay so don't get um messed up with that and then this finger has to move all the way here because i'm looking how this finger it's like almost against the edge of the other hand and then that moves this finger up and it moves this one up as well which is better because i think this was already not so great so let me get in for shortening and the knuckles really strong knuckle here okay let's put back the metacarpals because now they've moved since i put them in oh my god that's so great see it's like when you have lighting like that and bones that like shut out it's like you almost can't go wrong you know what i mean it's like the photograph in my opinion is like doing half the work for you so so important you guys to have these good references okay this feels let me do another pass and see i think it's this finger like this pointer finger and this hand i got to get the foreshortening and so actually maybe i should put in a little indication of the fingernail here's the joint coming down this thumb is funky all right yeah it's like the tip is for shortened it's behind this all right this oh and here's another overlap you guys see this this little line here which is in front of the thumb that's another overlap so look for overlaps okay and tell me in the chat are you guys starting to recognize some of these features that i'm talking about like are you seeing metacarpals are you seeing phalanges are some of those subdivisions starting to make more sense because it's like it starts there if you can't see or identify what it is you're looking for it's hard really hard and so that's why i i really push just trying to find things like i'm i'm less worried about you guys like not drawing it well i'm much more concerned about you just seeing it like the seeing is the important thing i think okay um and actually i really should put in the wrist the wrist is sort of like this it's through the pointer finger but i'm just gonna draw it way through because i think that's a lot better okay um let me move this down so you guys can see the fingers better and this thumb is very big it's right in front of everything else and you do see a little bit of the fingernail but more importantly there's this really strong joint and this other joint and oh that looks like really that looks too big but you know i'll come back and re-evaluate later i think that i'm getting a little stuck in that area so let me get in this finger which has a joint and then here's the upper segment again like you're subdividing okay you get in the big shapes and then you move down to the smaller shapes okay and then this finger has a very visible joint it's tilted this way and then does everybody see how the fingers they get thinner towards the top okay they're not like i don't know laundry balls i know that's so random i i did shoot those reference photos of laundry balls that look like that okay now this finger is mega foreshortened like if you guys really look at the photo there's like a little bit of fingernail back there very very little but it's definitely in there like that is like hardcore foreshortening you guys awesome okay uh and then the pinky is like a little bit in front like does everybody see how important the overlaps become like if you don't see these overlaps it's very hard to figure out where things are supposed to go okay i think that pinkie's a little bit better i am getting a little stuck though okay that's feeling a little bit more substantial let me come down here i feel like i spent a little bit too much time at the top and maybe this angle oh you know what oh this this finger has some foreshortening too like i thought this was the knuckle but it's not like actually the knuckle is here and there's like a little bit of the back of the finger there that this one you actually can't see the back of it and then this one obviously is very bent and then oh you guys look at this portrait oh look at this this is so good and then look at the overlap and then a little bit of the yeah this is good for shortening awesome okay i need to organize this section of the palm i feel like i lost some of the strokes and there's another line that comes down here i think we're almost ready for the rug of tone i'm getting there i just need to emphasize a couple areas so i don't get like way lost in the process and this is weird too i don't feel like i really nailed that oh oh oh here here we go okay yeah that's it make that come down it's a lot to process tell me you guys are you having trouble with the foreshortening because it's hard it is not easy to nail and you guys can see i was running all over the straw it's mostly in the fingers it's not really in the palms but for sure i mean these fingernails are gonna throw you guys off so tell me if you're struggling with that because it's not easy to do okay let's re-emphasize the metacarpals so they're a little bit bolder before i get in and then this is hard to see but there's like a little bit of a bone here and then this is like a little bit behind some of the overlaps are hard to see you guys a lot of them are not that visible okay i still feel like that hand on the back is just too big it's like is it mushy i don't know maybe it's the thumb i'm just going to take a minute and make the thumb a little bit smaller because i feel like that's a little bit too much it could just be that the fingers are too sausagey i don't know the jury's out on it i'll i'll just do some rug of tone and then maybe that'll loosen it up and show me some more okay rug of tone guys all right with this awesome lighting i'm so excited i love good lighting okay so let's fill like this lighting here this is pretty this is a very dark shadow this one here okay and guys don't be afraid to just leave lines on your drawing you know what i like about drawing is that everything's so transparent because with paintings things get covered and so when things are covered you don't get to see the mistakes and that's what i like about drawing is like looking back and seeing that trace of how that image came together i think that's really fun you guys look at this cast shadow that shadow is being made by the pinky so this whole section is dark and then oh this is nice that is a beautiful cast shadow it's being made by the pinky and it's casting across that area of the palm okay this is easy this finger is just dark really filled it and this one too there's a lot of lighting and shadow on this it's pretty cool i mean i'm the biggest fan of light and shadow like i i am trying to work with color more because i know i should but um i love black and white and a lot of it's the contrast stuff i just really love shadows and the way that things come out okay let's move down to the bottom so we can get in some shadows up here i mean you'll notice this hand has more light this hand does not have the same dramatic shadows that's the one of the top hat or at least it doesn't have it in the same quantity all right see i'm totally going to lose my thumb in the process but that's all right okay remember you want your rug of tone to be very flat very boring right now okay you're not trying to get fancy just trying to get something in there just like as a placeholder that's the most important thing yeah like here i i'm losing everything right now but that's fine i'll go back in and i'll redo some of it okay a little bit and actually there's sort of like a dark passage down here on the right hand side so i'm just gonna bulk this up quite a bit like that okay let's see all right so i got my rug of tone in there i got a few more minutes maybe what i'm going to do now is just go back in i'm actually going to switch to another color this color is a little bit dark um and maybe try to block in like bring some of the stuff back that i lost and that's okay guys it it may feel like oh no i'm like going backwards it's okay progress is not linear you're not always going to make your drawing better better better better in fact it's gonna get bad it's gonna get bad like if you just accept that you'll be much happier a lot of it is just i don't know giving up like okay gonna look crappy whatever that's fine i'm cool with that art is a mental challenge i i really think so much of drawing it's in your mindset like how are you thinking about it if you don't do that then it's like it's so mechanical i think drawing is an emotional process i think it makes you feel something i i suspect that's why we do it because i don't know i mean i love photography but it's just not the same thing you're not like massaging your paper like i am right now all right i gotta jump around i gotta punch it up a bit um this metacarpal i gotta get more specific because there's a little shadow here and another one here to get in that metacarpal okay i'm gonna try right now you guys can try this with me to do longer darker broader strokes because i feel like i've been a little timid and i need more energy in my strokes so for me a big part of that is just punching up my aggression being more assertive with the strokes and seeing what i can do with that okay that looks much better now i'm gonna move up to the top and this hand in the back is driving me a little crazy who else is going nuts with the backhand like the front hand i'm cool like the front hand i got my metacarpals i got my joints this is like very in there but this one is like ah this hand is mushy like it's not easy i think in this particular hand to see the structure very well i think it's harder i think the other one is is making my life a lot easier okay um yeah i you know what i mean okay i need to subdivide the fingers from the palms let's get this like really bulgy in here and i want to really emphasize the division of the fingers oh god this that looks terrible crap what did i do that looks terrible oh my god are you guys ever like horrified you're like oh my god it looks so bad like just wait you guys when we start doing portraits that's when it gets really upsetting because you're like what no portraits are hard there's so much psychological baggage it's it's not easy to do for anybody i i don't think it ever gets easier in a lot of ways i still struggle with it and i do lots of portraits so yeah okay this feels a little more secure um oh that oh my god i totally lost that segment so oh this needs to go higher okay remember you guys make changes okay don't say oh that's good enough i don't want to move it oh i spent five minutes on it so i can't change it don't do that okay that's just an excuse that's you not being willing to try something different it's not worth it to just say oh well i spend so much time on it therefore i can't do more you can you just really have to let yourself do that okay that's getting a little bit better and what i'm trying to do you guys have heard me say this before i'm really trying to draw inside the figure not tracing it like right now actually the the edges of this hand at the top are really mushy they're not well defined and that's fine i think that's okay guys okay more shadow on this finger yeah this hand in the back is hard i think because it's like it's all palm i think that's what's hard about it i think it's not like the other section okay i'm trying to punch in a couple of these divisions of where the palm is like that and then oh this is like sort of fractured do you guys see how some of the strokes where i'm drawing right now they're sort of falling apart a little bit like they're not as straight as you think they are try to get variety like even if you're doing just straight lines you still want to give those lines some variety oh and here's the wrist the wrist really needs a lot of articulation so let's bulk that in and this finger here which should be more foreshortened you put in that fingernail and let's make that really like puncture into the edge of that hand a couple strokes in here to show like the roundness of that form would also be better and then this oh crap oh my god i was like so startled by that all right um this oh yeah yeah this really has to come in dark all right this feels better i feel like i'm starting to get a grip sort of i don't know we'll see okay guys that's it for that pose so let me stop that all right that's a pretty good setup i mean i don't think it looks great whatever it's fine okay let me go to our next scene and see what you guys are talking about in the chat so if you have questions put them in the chat now while i'm looking at it so i can answer your questions that you guys are asking me about okay what are people talking about rachel says this pose is giving me classic play vibes sarah beat says i love photography and have way more experience with that but photography is really all about editing and directing focus i also find sarah for photography i have to shoot so many photos to get one like i'll shoot like 30 and maybe get one that i like so a lot of it is just filtering through a lot of images one of my friends is a photographer she does photojournalism and i just so cool to see her sheets and to see how many photos she has to go through to get one that really is working very well slap near here with our daily pun says hand oh messiah i love this very cool maria castro says i love doing other people's portraits but when i do a self-portrait all the baggage becomes apparent yup when you look at yourself for that long how can you not have psychological baggage i mean it's like everybody has certain things about their physical appearance and it's like really hard to get away from that angie luna saying what position would you recommend so you don't get cramps well actually for me angie it's less about the position and more about getting up out of my chair and moving around i'm not doing that now because i'm streaming live but if i was not streaming live i would be getting up out of my chair after every 10 15 minutes or so and then if you just do jumping jacks and around that's usually a lot better so i really recommend doing that jade leaf has a caption for this image me cradling my drawing hand after drawing this image oh my gosh i just love that so much lemonade is saying what do you think about using erasers especially during live drawings you can use some lemonade and but i feel that if it's really a short pose a five minute pose there isn't really not time to do the erasing and so i would just say that probably i wouldn't start using an eraser until at least a 10 or 15 minute pose because too many you just don't have time and i just feel like if i stop to erase at least in the gesture drawing it's like it ruins my train of thought because then i'm like stopping and starting again and i just want to go when i'm doing a gesture drawing i think that's a lot better yellow hat arts is saying what do you do when you put more pressure than is required well you break your pencil that's what i did so it's up to you guys however you want to do that but that's fine i mean it's totally okay to break your pencil i mean who does not do that and joey meyer says sometimes when i do portraits of someone they see their parents oh that happens a lot and actually i feel like for the longest time when i did portraits i always drew people so they looked older than they really were and people would get mad at me they'd be like i look like an old man i'm like sorry so yeah there's there's a lot of baggage with a portrait like people just don't look at a pair of hands exactly the same way emma chapman says the self-portrait baggage for me is so intense when it's a front-facing portrait but so much less when it's three-quarters i know because it's like you're looking into your soul it's like but you know something emma i actually don't really like straight on portraits because they do feel somewhat static because they're symmetrical but when you have a three-quarter zoo you do feel like there's a little bit of movement like the face is going somewhere and so i suspect that's one of the reasons why a lot of people like to do three-quarters because it's just easier i think from that point of view lunaire says self-portraits are the worst especially since we mostly see ourselves mirrored and people will commentate on how that doesn't look like you it's annoying don't listen to that that's so irritating we feel like that wouldn't look like you it's like who cares you know it's like a self-portrait the whole point of a self-portrait i think it's like a rite of passage as an artist it's something you do to investigate form and sometimes you're doing a portrait just to do an exercise like you're not really after a self-portrait like i did that a lot when i was in art school i would just do drawings of myself because i was there it was because i wanted to like look deeply into my soul or anything like that like i just wanted to use myself as a reference and that's fine too lemonade is saying what would be an ideal way to start a drawing if i draw from specific parts the proportions go wrong when i draw a broad way like you do it kind of becomes a giant blob well you know what aiden it's got to start as a giant blob okay you have to start there like where are you going to start with the wrinkles like it's not going to work out that way because yeah i mean if you try to do the picky little things your proportions are not going to work because you're not seeing the connections and the relationships so ada and i'd have to see your work to see exactly what's going on but it's got to be a blob you have to start with that there's no way around that and so i would do the blob and then what i would do next is stick with it and not stop because actually what i've seen is a lot of people will give up they'll say oh well it doesn't look good i don't work on anymore don't do that you know just keep going and if you kill the drawing and kill it i don't know if you guys saw but on instagram i've been going back and reworking these drawings that i did back in 2012 which is crazy i never do that and i did have this one post it isn't the most recent post it's the post before that i really overdid it like i scraped way way more than i wanted to and so the image ended up not looking so hot like i actually got rid of a lot of the blacks and grays i was like really mad because i had this photo of it that was in progress and the in-progress looked better than the final result and yeah that's annoying because like i had a certain vision that i wanted to fulfill but you know what lemonade and i would rather push my work too far then always be worried about like oh well i don't want to ruin it i mean ruin it it's okay make another one like that that's one argument for why i think it's good to be productive because if you make a lot of drawings it doesn't feel like such a big deal if you mess it up but if you work on one drawing for three months of course it's gonna feel really precious and that's not such a good thing rachel says that's why i prefer animals to people there isn't much pressure with capturing likeness i know like with an animal people are just not that picky about it because there's just not that type of pressure caitlyn saying just want to thank you a year ago i would never have drawn anything but a portrait with acrylic paint now i have the inspiration to step out of my comfort zone because of art prof that's fabulous so happy to hear that because you know something you guys stepping out of your comfort zone you've got to do it that's the only way you're going to learn and grow and if you keep doing and repeating the same thing over and over again you're just like a robot like you're not really developing and in my opinion as an artist you should always be developing you should always be changing you shouldn't be drawing the same way you were drawing six years ago you should have progressed and do something quite different lunaire is saying speaking of portraits can you give tips on drawing teeth mine always looks so uncanny i suspect lunaire that what a lot of people do when they draw teeth is they try to outline every single individual tooth and i think that's where you get messed up because it's like when the edges of the teeth are too well articulated and too dramatic it makes people look like they're popping their teeth out so what i would recommend lunaire when you go to draw teeth don't outline every single tooth just outline like a couple spots and leave some of the areas open and i think what that will do will make the teeth flow a little bit better it's sort of like fingernails like if i draw my fingernails and i like trace the fingernails really dark they look weird like you end up looking like michael fassbender in macbeth where he this is grossing where he's like so dirty and he's like drinking from this thing and his fingernails are just like caked with dirt it's like really really gross but it's like if you think about it that's why they look nasty because they're like too outlined and so if you back off on some of the outlining of the teeth i think that will be a lot better okay guys let's do another 20 minutes because i want to see where i can take this i am going to try to really finish it might take me a while but i think it will help you guys see how do you get from that giant blob to something that doesn't look so blobby okay let me get back into my position [Music] all right grab my drawing board okay i mean in my opinion you guys where i am right now is sort of when the fun part starts to happen because it does look not that great for a long time okay now i'm actually going to switch to this sienna brown it's a little bit lighter because i think i want to work on some of the mid-tones a little bit more and see if i can get that going okay here we go there goes the timer let's try to get a little more cohesion and what i'm going to do right now you guys might want to do this to get up out of your chair and look at the drawing just squint because what i do what i squint is i simplify what i see and i can already see that i am not being bold enough with these shadows like these shadows really i gotta pump them up because the the contrast just is not there right now so let's just spend some time just building some of this rug of tone because i just think it's not substantial enough especially here like this area that's behind the hand like this is really dark and so this is not an area that i want to hold back on and then actually this finger also has a cast shadow isn't that cool there's like these two shadows that are being created by those two fingers like one is the pinky the other one is the pointy finger okay so let's just bulk this up and you know what's going to happen guys is my drawing it's going to look fuzzy fuzzy like mushy fuzzy which you don't want ultimately but you sort of have to start there if you want to get anywhere and i just really need to bulk up the shadows the shadows are not happening right now okay like especially in here these metacarpals they're so severe and i just don't have them in place yet so right now what i'm trying to do is just bulk up the contrast because it was just too gray before and i think this is going to help okay so now i can start to pull out some of the distinctions and also you guys will notice that because i'm using a different color you got to make sure if you do that that you use a different color everywhere don't just put it in one spot like a lot of people will do that they'll just color like one finger brown and then it looks like really weird which you don't want to do so i don't recommend doing that so actually i'm running out of some of this color so let me just take a minute and do this and if you guys are sharpening the key to this is to put your thumb behind the knife so that you really can push it up if you don't push it up like that you're gonna break it really really easily i mean these are so easy to break you guys saw how i did that okay this will give me a little bit more and then again you want to come over here get your sandpaper and let's just smooth this out especially because i'm doing so much tone right now i don't want this to be so harsh like i still need something fairly smooth for now okay and now another thing i'm going to do too i'm going to pick up the pace because i i've been a little bit too slow and i really feel like i need to pick it up otherwise the drawing is going to lose its energy it's hard you guys to work on a sustained drawing like tell me if you think i mean neither is easy but like which one do you think is harder a two-minute drawing or is it a one-hour drawing it's hard i mean i think a lot of the times people assume that the longer drawing is easier but it oftentimes is not like i used to teach this class i used to teach at smfa in boston i was there for three years i was in the drawing area and i taught this class that was called long pose portrait drawing and so we just did like really long like six hour long drawings and a lot of the students honestly they really had trouble with it because it they just didn't know how to sustain a drawing for that long it was very very challenging for a lot of people and so it's surprising like you would think that the longer pose is easier but it oftentimes is not okay let's get this hand like really [Music] really prominent it's a little bit of reflected light here so actually what i'm gonna do is go in and just emphasize the contour of this so it looks a little bit more prominent because this is like a really dark area and i think it does not hurt for me to do that okay maybe let's get the thumb a little bit better i think the shape was a little bit strange at first and then maybe build up more here yeah i i gotta build today guys because i feel like in the last drawing that i did the last draw along that i did i felt like i didn't make the color pencil substantial enough like it felt a little bit thin so let's see today if i can build up something that feels more muscular which i actually think is sort of hard with colored pencil a color pencil is not by nature a very thick dramatic beefy type of material it's actually sort of thin and wimpy actually when i think about it it's not really that bold like if i was using charcoal i think that's a different story but i think in general colored pencil not easy to get that like muscular like beefy feel okay um i think i need to get more tone in here and let's just like really bulk up this cast shadow like this is a beautiful shadow you guys i really hope you're taking advantage of it because it's gorgeous the way it just like moves across oh that is good okay and now this i'm going to start pulling some of these lines together more so they're more visible and i may need a darker colored pencil to do that but for now let's just really layer yeah i'm going to do this guys you know what i'm going to do i'm going to try to do like double the thickness that i did last time because i don't know is this just me but i feel like every time i do a live drawing session i was like oh crap this could have been better i could have done this like this i didn't demonstrate and it just makes me feel like i want to redo like every drawing that i ever make which i think is common i think a lot of artists do feel that way but especially on the live drawing it's like so public like it really makes me self-conscious sometimes i'm like i promise i do know how to draw really please believe me okay um we need to get some subdivision up here so let's just stop and get this in and you guys will notice like i fluctuate between like these harsher lines up oh crap there it goes all right let's just switch pencils um like i fluctuate between is this blue what the heck is this oh dark umber this is really dark i don't think i like that i have another brown this one sepia okay this is better um yeah so i i just feel like i don't know it's like i think this is a constant state of mind for art and you guys tell me if you think this is true it's like nothing's ever good enough for us and it's like yeah i'll have pieces that i'm like satisfied with because i'm like oh okay i did pretty well but there's always something that you're like this could have been better i wish this thing could have blah blah blah and it's like it drives you nuts sometimes okay i actually nah i i gotta i gotta bulk up some more this not happy with this finger up here we really have to nail this and actually what i'm gonna do is i need to add some of this brown even ah you know i'm just gonna use this because i'm just using the tip of it because i just need like a little bit of brown up here because if i don't have brown the colors are not gonna match and that's not good yeah you know what i'm gonna do ah i think i need more of this okay let's just draw i have this tip anyway i mean this makes me wish i had conte crayon i did send the husband delivery service to the art store today so hopefully he's gonna get stuff i'm just doing this because i'm like too lazy to sharpen my pencil and then a little bit in here i just need this color to be distributed like if the color is only in one spot it's gonna look weird okay i mean color pencil is not really my preference but i i think it's a common material and i want to use something that um people really know about okay so let's use i don't want dark umber because i want sepia okay now i'm gonna do i'm gonna bulk up some of the shading even more with this color and let's start to really pull things out of here so this is a little bit too sharp i don't really want that sharp but that's okay um yeah i just i really want this to be thicker and juicier and beefier because i did not do that last time this is still too dark i don't like this color let me try the is the dark umber worse if it's not maybe i'll switch to one of the violets yeah this is too dark okay let's switch to this so i have two colors this one is indigo blue and the other one is violet blue so let me try the violet one it might be too saturated but let's just see you don't really know until you actually try it out oh that's actually kind of nice yeah that's better that that dark umber was it was like too close to black so let's just bulk in more of this color i mean i don't know if you guys can see the blue on the screen i suspect that maybe it's not so great in terms of color but um at the very least for me it looks better and also i'll show you guys like ah crap are you serious ah okay okay it's sharpen just have to give in and sharpen this stuff of course now it's not sharp sharp but i'll i'll just do a little bit on the sandpaper and it's okay anyway because i'm just doing tone right now i'm not needing anything to be that sharp so i think that's okay okay let's do a little bit more see that didn't take very long but it's like i i don't like to like split up my groove like if i'm like into it i wanna get going okay so let's do a little bit on my sandpaper i just wanna make it smooth at the very least on the sides like the tip doesn't have to be that smooth let's try that because i really want the tone to get more dramatic okay let's try that get that better positioned okay i really really really want to bulk this up let's do it i gotta work faster i think i just want this to be like thicker and juicier and then we'll go in and we'll just like attack it with a lot of lines it'll be very satisfying i can't wait see still i mean i've been working on this for a while but this is a lot of setup still like there's still a lot of things that i don't really feel like are in here just yet and that's okay that that's just sort of the way it has to be but i think a lot of drawings are like ah are you serious oh my god okay let's just whatever let's just use him to go blue like i don't want to erase anymore oh oh my god are you kidding crap all right let's use sepia how many times have you guys like i just snapped like three in a row that's smart maybe i shouldn't make them this long maybe i should make them you know what this is not working though i need this all right i need this purple this purple is giving me the contrast that i really wanted and that other brown is just too dull like the blue is just like really making it pop in a nice way so okay let's just do this like that okay now i promise don't break it okay oh my god you're kidding all right i i'm just done guys like okay next time i'm using gotcha crayon this is this is not going well for me come on i need the purple oh my god this this is like gonna turn into like a sharpening video like here's professor lou sharpening pencil after pencil and never getting anything done yes all right let's do a little bit more you know what we should do guys we should have like a we should have a prize whoever breaks their pencil the most gets a prize because we feel so bad for you that you broke so many pencils although this time i think i would win okay let me do some more all right clock's ticking i made like no progress on this stage because i was busy like sharpening stupid-ass pencils the whole time okay i i gotta move i really gotta move let's get this going sometimes you need that you need tell me a few things true you need to somebody to like light light fire under your butt to get you moving i mean i think that's maybe why a lot of us like to draw with each other because it's like you egg each other on and you think about ways that you can stay motivated because i think a lot of people when you draw a loan like don't you guys think it's easy to just give up because you're like oh it's not working and it's easy to just throw in the towel and be like yeah that's enough but when you draw with other people there's like sort of a peer pressure thing that happens and i like that a lot about these live draw lawns is really like egging each other on the whole way through it's just so much fun okay let's get in some of these i might be ready to start popping in a few more things i just want to distribute the blue a little bit more because like i said it looks sort of out of place if you don't do that um yeah like some of these lines in between have to get going like that yeah like do you guys see i don't know if you can tell but the blue really is popping against the brown and it's making a big difference for me i mean maybe for you guys you can't see on the screen but i definitely am picking up on that for sure it's a big difference okay now it's really mushy this this finger is driving me crazy like what the heck is going on there um i gotta stop and like really look i think i was just a little bit hasty when i was drawing it before and it's not working out so well for me okay oh yeah maybe i didn't like make it bend enough oh god that looks terrible shoot why why is that giving me so much trouble maybe i just need like a little bit more brown now i feel like i made the segment too strong let's just fuzz it out like when in doubt fuzz it out and maybe nobody will notice i don't know all right that's a little bit better but i do want to do a little bit more here because this area in the center it is a little bit darker i mean not by a lot but i just need it to be distinguished from the other side which is more dramatic in terms of like this this is really the bulk of the light is in here and i did get that a little bit too dark so as a reaction to that i'm going to darken some of these areas here like that i mean this is where i really like wishes to struggle drawing so i could like make those changes but you know it's good it's good for me to do materials that i'm usually not that into it's good for that change of pace because it's like every material you're gonna learn from it you're gonna do something a little bit different okay that's a lot bulkier and it's getting there but i feel like i made like no progress i feel like nothing happened you guys ever do that or you're like nothing happened like i've been working on it for so long and it's still like in the same crappy stage than it was 15 minutes ago oh that's really annoying okay you know what i'm going to start doing i need to bulk up a few more darks and then i think i'm going to start holding the color pencil like a pencil and let's see if i can just get some bolder lines okay let's do this we have three minutes i'm going to really push myself to do this let's use here we go here we go okay let's really let's go to town on this uh this is where i i do start to do stuff like this where i do want my line work to get more active and to really push like here there's a pretty dramatic fingernail there and then i am going to start to hint a little bit at some of the wrinkles in the skin because like especially here there's quite a bit what is going on there there's like a lot of wrinkles that are sort of going across i don't think i'm really ready for those yet but i need something that feels more concrete like right now the drawing just feels so freaking mushy to me i don't like that so here are some of the wrinkles that are going across i still need to blend them more but whatever i'll get there i don't like this color i need the purple the purple was like saving me right now okay let's try to emphasize some of these lines because some of the lines are really light but some of them are pretty sharp and this one actually that i'm drawing right now is sort of fragmented a little bit so i'm gonna try to reflect some of that i got a bulk of this shadow the shadow is not what it should be and it should be softer the transition of the edge here somebody was asking the other day in discord about edges and i think edges are pretty important because if you don't think about okay is it a soft edge is a harsh edge it can be pretty hard to work with okay i'm going to really try to define this hand here yeah i'm not drawing at the speed i want to be drawing at yeah i definitely am going to do another session uh another 20 minute after this because it's not even close right now i know a lot of you guys while you like seeing the gesture stuff want to see like where where is that transition like how does that actually happen because a lot of times you don't get to see that part i mean i never showed that part when i was in class because in a brick-and-mortar classroom i never did dumbos this long i i always was like walking around like helping people but i almost wonder if like maybe seeing the drawing from beginning to end is very useful for people and like i said like i never did that in the classroom i always walk around to help the students which you know it's a bummer i can't do that virtually but it is i don't know i guess it's like advantages it's almost like apples and oranges like you can't totally compare the two on an equal basis because they they really are just different beasts okay this thumb got wonky i want more of these overlaps going on yeah it's the building up like the building of the colored pencil it just takes time it's not fast at all all right that is the end of that one pose so let me go here and see what you guys are talking about okay how's it going guys who's still with me i know these are really like long sessions but i think it's um good for us to spend this kind of time together okay going up here see what types of comments people are talking about let's see carolyn's art adventure says just got here looking good will be another pose after i'm gonna stick with this drawing and i'm really gonna try to finish it because i think that'll be really helpful for people to see the whole thing jade leaf says you need to upgrade to polychromos a break glass actually my favorite brand of color and pencil i actually like fabric castell better because their pencils they're a little bit wider and so they don't tend to break as much like i find the prismacolor ones just really delicate and really hard yep pencil sharpening master class that's what you guys are getting carolyn's art adventures watching how you hold the pencil differently for different types of results has actually been really educational yeah change it up you know there's no reason you have to hold the pencil the same way all the time you can totally switch that up as much as you possibly can lemonade is saying where on the discord do i post the live drawing pictures that we did today yeah so what you want to do lemonade in is go to the our prof discord and you want to post it in a channel called draw alongs and that's where you'll see everybody be hanging out and if you're not in the discord shame on you you guys should be go down to the video description below and you will see we have the invite link to the art prof discord there and that's where you guys can hang out with us let's see rachel says i seriously need to try using a blade to make the lead longer i usually use it when i don't have a sharpener it is helpful to have the sandpaper electric pencil sharpener and the utility knife both of them are really helpful and emma chapman says it's really useful to go back and forth and focus on warm and cool tones although my result was pretty muddy because the kante and pastels mixed a bit awkwardly yeah i mean the colors can be a little tricky but i think the most important thing is that you distribute them evenly i think that's really really helpful kate twomey says my drawing is looking so blue because i did the sketch in indigo that's fun though i mean i like pencil but there is something about colored pencil like having that little extra kick of color i think can actually be really nice like it gives the drawing a little bit of a warmth and also for me it reminds me of those like old master drawings by michelangelo they have like that really pretty like sanguine chalk it's just like really really cool so yeah i i happen that's the one thing about color pencil that i really do like better about it is just like having that little kick of color is a really nice thing to do lunaire says i'm using the stream to catch up on my 2500 drawing challenge also i'm super glad i'm not the only one cursing loudly without pencil spray you know i don't care if they break i just get annoyed that i have to stop and sharpen like that's the part that bothers me like if i could just have somebody like sharpening my vessels for me on the side that would also be really nice but i don't think that's happening anytime soon you guys remember share on instagram tag us art.prof use hashtag artprof share show me what you guys are making because while it's fun to see it in the discord it's also really cool when i can share it with everybody that's following us and see what the results are it's really really cool okay let me get back to my drawing position i'm really hoping i can make progress because i feel like i did not make progress on the last session like it was so not productive okay let's try this again we're gonna start with another 20 minutes and i'm gonna do it guys i'm gonna really i'm gonna push myself okay all right maybe now that this thing isn't quite so um so long maybe i'll have an easier time with it but i really want to bulk up some of these sections like especially this pinky here i feel like it did not do a good job and it's starting to look really light so let me you know what i'm going to do i'm just going to go through and make another pass with the darker brown make this a little bit more dramatic like this because you know something i'd rather have too much tone than less because i think when you have less the drawing does have this almost like anemic look to it which i i don't like i i like the drawing to be like fuller and richer and i think that's better so like i said it's like do more do it too much too much is better than not enough and just do another one you don't like the drawing do another one that's fine you know it's not like this is your last shot it's not like you're never gonna have a chance to do this again it's like you totally can do it again okay okay let's see i'm gonna take a step back i do some squinting and i do think not enough tone up here i think this highlight area that i'm working on right now it's like sort of distracting from the highlight i i think this is it this shadow or is it down here it's a little bit hard to tell because there's all this line stuff down here that you know i need to do this this is a section i've been sort of ignoring for a little bit so let's just get in there and bulk up some of those spots so now you can see i've switched to my like handwriting pose because this this gives me the opportunity to really like control some of these strokes and this is where it gets really fun where you can really like play with the line work and start to bulk in like some of these passages up here like this is the type of thing you just can't do in the beginning like this is that like picky stuff that now it works because i actually have a place to contextualize it but for a while it doesn't okay let's get the roundness i'm determined you guys i i want to make this drawing work right now because i did not do a good job on the last one and i'm going to show my strokes some more i think earlier i was being a little bit more cautious because i just really wanted to like build the tone up and i want to get it still has that mushy look like it's i wanted to bite like i want this drawing to really feel like it could like hurt somebody i mean not like really i mean metaphorically like metaphorically hurt somebody i was like that could sound really bad out of context okay but as a teacher i can tell you i've been caught saying many weird things i've got so one of them i'm not going to share here maybe i could share it on the discord okay um this thumb needs to come out more i need this to be more dramatic some of this blue is sticking out a little bit more than i would like it to but i'm gonna leave it because i think it's okay for now i really want to do these lines these lines are okay maybe if i come in here and i really let it rip because you know something the thing about these wrinkles in the hand the palm area they really are like little pieces like they really are not straight continuous lines they seem like they should be but they're so not i think that confuses people quite a bit okay i'm spending way too much time on that middle part so let's take a break work on some of these fingers get them more dramatic and and really puncture in some of the lines because the creases in here they are pretty dramatic actually they're more dramatic than you think they are oh that looks terrible too abrupt it's hard because part of me wants it to be abrupt so that way it has that bite but then another part of me doesn't like the transitions so you end up like in a rock and a hard place which is like i don't know not so hot okay i gotta really bulk this up you know what i think i need i think i need to like double the amount of blue that's in here because some of the blue is like sticking out way more than i'd like it to i think it should not stick out that much and see this wrinkle this is a really satisfying wrinkle this one up here on the thumb oh i really like that one nice that's very satisfying okay let's let's get this knuckle like really pronounced these knuckles need they need work they've got a stick i want them to stick out okay and then maybe this this is probably hard for you guys to see but i'm like building up some of the the roundness of the wrist because some of the strokes before they were getting a little bit too plain so now i'm pressing harder i'm drawing more rigorously than i was before and i got to move down here because i spent way too much time up there at the top and in here i'm really going to let it rip down here towards the bottom because metacarpals yeah love metacarpals so actually here i'm gonna do another passive brown because i don't want the blue to be that visible the blue by itself it's like it doesn't look good on its own i like the way it looks when it's like layered with the brown but by itself it's a little bit too strong for me so i'm just gonna build it in like that yeah this this just needs like oh see this is why colored pencils exhausting like it's just so much to do all at once it's a lot of layering i don't even know that this is going to be the last pose i don't know i got to see maybe maybe i'm starting to let it rip a little bit more but still not as much as i would like to yeah and it's like every time i look at one section i'm like ah it needs more let's get more aggressive attack this more structurally let me move this up so you guys can see the bottom so i'm going to just really build up the brown down here like that maybe that's a little more cohesive i hope it is i don't know we'll see all right this thumb needs mega help so let's do maybe it's this knuckle needs more i'm getting a little liney like i don't like it when it gets so limey like that oh my god this is a lot of work who's still with me who's still drawing people were like oh my god two hours i don't know that i can do it i wouldn't mind it's just this colored pencil is exhausting like just building it up it just takes so much time but it is starting to get richer than it was before okay uh okay you know what i really gotta do i gotta work on some of these wrinkles that are up here like there are some up here that are pretty prominent and oh this needs to bulk up yeah like this this area that's like behind the pointer finger it was like i was losing all my highlights that's what was going on oh yeah yeah that's a lot better okay the things you discover when you actually like stop to look and see what's going on yeah yeah okay okay that's doing much better more lines going across yeah like these are very visible they really just cut across if you guys see the way that i'm building that up it's pretty substantial i can't erase that part i think i might just make that a little bit oh shoot i think i did too much all right let's go back here i'm going to add some of the wrinkles that are on this knuckle trying to make them a little bit rounder and maybe like oh here there's like some pretty strong wrinkles that are going across so i'm gonna just bulk these in because this shadow feels a little stiff to me i feel like if i start doing some strokes that are in more different directions that might help and then actually this gets a lot darker here but it's like even darker up here like this shadow really has to pop and then this one also has some of these lines that are going over to show some of the wrinkles so a lot of this you guys so much of it really is in the layering do a little bit more here a little bit yeah i think the knuckles are not as visible as i would like them to be the lighting is actually making a little bit hard but let's just do the best we can and the shadows right now like they're a little generic the shape and so what i'm doing right now is i'm making the shadow a little bit less predictable and this one i'm trying to like make it expand more so that way it doesn't feel so predictable i think sometimes when the shadows are like too specific in terms of like getting like such an even shape that's not always a good thing all right so sometimes it's better to do it that way and maybe a little bit more blue here bulk up some of that oh still have nine minutes i might be able to do this i might we'll see i don't know so hard to tell it's like you never really really know okay um i think i have too much blue up here it's sort of bugging me so i think i'm gonna do a pass of brown over the whole thing because i think it's taking out way too much like that it's tough i mean with color pencil you really have to just layer in layer and layer i mean this is pretty exhausting on my hand i mean i do work sort of spastically so that's kind of my fault but that doesn't mean i can't whine right i try hard not to whine but when you're drawing it's hard not to whine because you're like this sucks this doesn't work i need more of this i'm trying to get this thumb to sink oh and it's not wide enough okay let's let's change that yeah i was i was thinking something was funky about this thumb and now i'm realizing that it's because it's not wide enough and then this oh that that's kind of cool that makes this knuckle even more prominent and then there's like another knuckle down there so let's just beef that up with some of the brown make that a little bit more visible i don't feel like i'm doing a great job with the knuckles right now i feel like they really could be a lot better but uh whatever this just needs to beef up it's just not substantial enough in my opinion and this fear and why did it it's so bulgy why is it the shadow what is going on there maybe it's not wide enough at the bottom i really like cannot tell um maybe it needs more see now it's getting too dark you can't win too dark it's too light it's not long enough who's having a little dance in their head too dark too light now i need more light now i need more darkness it's like you can't ever really figure it out oh guys i'm not happy with my drawing right now i was ugh i was feeling okay about it and now some something's going on i have to figure this out hang on let me just keep working on it you know honestly if you're having trouble with your drawing which i am by the way um just just keep working on it because sometimes it's like if you don't like it what are you going to do cry like just keep working on it and it doesn't get better nothing has changed if it does get better great right it's like when you say it out loud it sounds so easy but it really is not it really is not that easy okay i really want this metacarpal to like pop so i'm gonna try really hard to make this darker and give this more substance like this okay let's see it's getting there i i don't like how mushy this finger is though it's not good you guys i bet you anything i'll like post it and then see like all the things i'm struggling with that's probably what's gonna happen oh you know what i think this finger is not long enough is that it because it should be more the same length as the middle finger right oh yeah yeah maybe that's it maybe but then of course i gotta change all this stuff oh well then that changes this okay you like how like when you fix one thing you gotta fix eight other things it's like a total domino effect with drawing it's like you never really know what's going on all right oh shoot only five minutes ugh i think i need to work on it more i really wanna i really want it to look good that's all i really want is that what you guys are telling yourself right now because i am i'm like i just wanted to look good i just wanted to not look crappy i just want to not embarrass myself oh it got way too dark i think it's this finger is it maybe it's not wide enough i don't know i mean i talk about not caring about accuracy but it's like i wanted to be close enough um because i get frustrated otherwise i think this drawing got way too dark guys i don't like how dark this is see that's my thing like this is totally my crutch and you guys can tell me in the chat like what is your crutch like my crutch is that when something's not working i just get darker and that's not always a good thing because you you lose a lot of those important passages of like more subtle grays and it's a problem for me like i i just end up darkening everything it's not always the most productive way to go about doing things so tell me what your crutch is you guys have a crutch is your crutch getting too dark is it not going dark enough like what is it what's your crutch because everybody has one don't try to tell me you don't because we all have one all right this pinky come on come on get better oh i feel like this drawing i was like all optimistic and now i'm like it's not going it's not i think i need to do another set after this i just don't see that this is going to come together it's getting there but it doesn't it doesn't have the bite i want the bite i want to feel the bite of my drawing maybe more detail maybe maybe because this palm for sure that there's more lines that i could put in and you know maybe it's that these lines are a little bit too fragmented maybe they need to be a little bit more fluid with each other it's a tough call because it's like you want them to stick out but you don't want to stick out too much like okay maybe that's helping oh i need some more brown up here i can totally see that the shadow is not as dramatic as it could be it's getting there i i do need more time on this though i don't think i'm going to finish this in two minutes i think maybe another pass and then that will definitely be it but this definitely needs more yeah not happening right now yeah and this this finger got a little lost i think just for the sake of articulation i'm going to darken it because it really was not happening and i need a little more wrist in here like that and maybe if i bulk that up oh shoot i just made this like really horrible line right through there you know i am glad i'm using this blue pencil though i do think that it's giving me a range of contrast that i would not have and especially here like i really want to bulk up this cast shadow if i press harder and more dramatically maybe that'll give me what i'm looking for there is some reflected light down here and i don't want to totally ignore that it's a little bit lighter yeah like this transition that i'm working on right now it really should be more subtle like this ah shoot but is that too much i don't know one minute this needs more for sure i i'm not getting the subtlety that i want like especially down here this area of the wrist it looks really flat but it's not there there's planes of line that need to get in here it's getting there it doesn't need a full 20 minutes but it definitely is more and i'm not happy with these fingers these fingers are really driving me up the wall i think i'm not making them long enough is that i gotta look at like the whole shape i think i'm just not doing that and this finger got way too dark like i totally colored it all the way in when i should not have it's really not doing well but whatever you know it doesn't work well i do another one that's okay that's the way it can be for drawing just do another one that's my argument for making a lot of pieces because you just care less i think it's not good to be precious about your artwork you want to have that feeling that you can move on and there'll be another day there'll be another day where your drawing doesn't stink so bad sorry that's how i feel okay let's see what you guys are saying in the chat so let me move over here so i think we're going to do we'll do one more at least 10 or 15 minutes we'll see i don't know that'll need the whole 20 but let's see what you guys are talking about in the chat okay what are people talking about all right kappa says no pain no gain yep there's a reason we have that phrase and carolyn's art adventure says it's really interesting watching your colored pencil work versus that of lacquery fine art very different both very effective color pencils really versatile i mean it depends on who you are and how you want to use it and i think whatever works for you that's totally fine i i don't think that there's one way that is better than another which is different that's really all it is all right we got some confessions here people are telling me their crotch neil says my crutch is adding more darks adding more details and texture crow coco says my crutch is over blending when stressed amanda says i want to do bolder lines and more shading but hard to do that without it looking like a black mess yeah that definitely happens for sure michael says the darks are vibrant that i'm going to attribute to the blue the blue really makes a really big difference lunaire says my crutch is making the outlines too dark and too soft and mister i don't know what language this is i'm sorry my crutch is going too dark too early and carolyn's art adventures my crutch is outlining everything too much scott says small lines over and over until i get one chicken scratch sketch line yup that that that's gonna happen for sure and jade leaf says my crutch is going nuts with highlights eric says being too heavy-handed struggling with keeping things light and kane feathermore says not adding enough contrast kate says getting very scribbly when i'm stressed and going too dark see we all have crutches i think the important thing is that we put it out there so we know that we're not alone i feel like so much of being an artist you do spend a lot of time by yourself and you can do a lot of damage in your own head i'm like that if i'm alone for too long with my thoughts and not something to distract me i mean i ruminate like crazy and it's it's not good like it starts to get really dark after a while so like this is why i tell you guys when i'm working i always have something else on like a podcast or whatever so that way i don't have to stress so much okay guys let's finish off this drawing i promise i'm really gonna do it i'm very close i really am it's just a little bit more and we'll see where this goes i'm amazed you guys are sticking with me you know there is a whole thing and you guys can tell me what you think about this that a lot of the teachers and for good reason are struggling a lot right now with remote teaching and a lot of them are telling each other like oh well the videos are too long and so the students are not responding you should make your videos three minutes i don't think it's a length then you guys i i honestly think it's just engagement and that's why i've been pushing a lot of the teachers like i've been telling them guys you gotta go live like don't do this asynchronous teaching where you just give people a video to watch like that is not the way to get engagement i mean being here live with you guys it's a big difference as opposed to just um just sitting there and saying watch this video it's really not fun when it's not live i think it's just the whole culture a live video is just very very foreign to a lot of people like if you're not used to it and you've never been to a live stream before it's like why would that make sense of course not it took me a while to figure it out and you know i resisted doing live streams for a long long time like i did not want to do them because i i didn't like how unfiltered they were but now i guess i'm realizing that like that's why people like it is because it's unfiltered tell me in the chat like what is it about live streaming that you guys like like what makes you stick around as opposed to like you know your teacher saying here watch this pre-recorded video i think most people do not engage the same way when they're given a pre-recorded video so maybe it's something i can tell the other teachers and share with them like listen this is why people like the live streams this is why people do show up and why people do stick around for two hours i mean it's really remarkable the kind of engagement you can get when you're really getting people to do something and to feel that their voice matters i mean maybe that's it maybe it's like you don't feel very seen and i know from doing stuff online people want to be seen people want to be acknowledged and when you're not acknowledged this is kind of a bummer right that's what i think yeah tell me in the chat why why you guys like live streaming like why it makes a difference to watch a live stream i mean i sort of know but it's like if i can hear it from students and people who really are participating it's a big difference because then i can say oh yes the people that watch the streams this is their suggestions like you guys are like the ultimate focus group i love it okay a little bit more down here just so i don't have any area that's so unfinished oh man this is like killing me this color that's sounds so exhausting okay because yeah i know a lot of teachers don't want to do live because they feel that it's nerve-wracking and they don't like how i guess coarse the whole experience is but my sense is that that's what people like about it they like that it's not perfectly curated and edited and i it took me a long time to figure that out like when i first started art profs i wanted everything to be perfect and curated and ultimately i think one of the reasons why we've improved is because we're not like that anymore because we do engage on a more casual basis i think it's less intimidating i think sometimes you see a video and it's like so well produced it just makes the people feel that they're so far away and i think people want to feel that okay you're i'm in the classroom with you you know like i think that feels a lot better you know i might take down some of i don't know how effective this is going to be but i'm going to just use a little bit of eraser in here and maybe pull out some of those highlights because i think i definitely got too dark in there maybe that will help and also this finger too like i really have not done a lot of erasing up until now but i'm realizing that there's a couple spots where i just really lost it and that was not so good so we're gonna do that i think that helped right i think it did okay um this pinky really needs work i think this section here um make this darker like that and maybe pull this out i mean i really really want this drawing to work like i don't need the drawing to be amazing i just want to be satisfying i just want to look at it and feel like ah that moment where you're like yeah and actually this is a little pocket i'm gonna open up as well because there is this like light that comes in on the side maybe i just need to do a pass with the eraser like i have not done a lot of eraser work and maybe that's why i'm suffering maybe let's see if i pull out some of these highlights maybe this finger can recover i don't know let's see sometimes it's beyond hope but that's why i use the eraser i mean i don't use it much but it definitely does come in handy like when you're really trying to get something in there see i feel like the fingers are not they don't feel round like i want them to have that like roundness to them so you can see right now i'm sort of drawing these like round lines these sort of like wrap around the finger oh god this finger looks terrible i really have to fix this i think it's this line there's always one part of the drawing that tries to create like no this is that part this this finger for sure it's not doing well sorry let me move that down a little bit more so you guys can see that better and maybe it's this see the thing i don't like about the colored pencil with the eraser is it's like it sort of smears the color pencil i don't like that so much all right it looks really like gnarly it's a little better than the fuller maybe it just needed more shading i don't know the fingertips are hard because it's like parts of them are darker parts of them are lighter and it's not that clear like here there's a little bit of a fingernail i'm gonna add that maybe that helps me a little bit but also i want the roundness come on maybe pull out some of this ah shoot that's not erasing at all okay let's do another pass in here okay i take it back i might need the whole 20 minutes forget it i was like i'm gonna be done nah you're not done you're not done at all this is hard because this is like bits of wrinkles that are like crossing over each other in different sections so i'm going to try to wind that all together maybe this will help i mean it does help that i i really brightened this whole section because i really like lost it here and i don't want that to be the case maybe like really bright highlight in [Music] there um i want to get the texture of this hand because i feel like it's not very present right now so maybe i just need to do more i don't know i'm not sure like this one's pretty dramatic and this sort of cuts up like i'm just trying to follow the individual shapes and what direction they're going in i mean if anything i can just make them feel more confident like the lines really mean something so even if they're not fabulous they're they're at the very least they're engaging on their own i don't know we'll see i'm getting there it's really close ah i i lost see like here there's this like little bit of reflected light and i don't know that i'm gonna get it back oh i don't know maybe it's a little smeary i don't really like the way that looks maybe if i go back in ah it got all like cakey and weird yeah maybe that's a good idea that's the problem the colored pencil not easy to erase like i think probably the next draw along i'll use something like conte crayons something that's a little bit easier a little bit more friendly with the eraser because the colored pencil is not okay i still i need that area to like come together i still i think i gotta enrich this maybe like a little subtle line going down the center and maybe like some more round stuff like i really do tell me you guys if you think this case i really do think the direction you stroke in matters i mean like even though right now i'm filling in an area that's like very dark i still think it makes a big difference i think it's just sort of like your mind like is moving in a really particular direction let's lift up yeah like i sort of lost there's this cool wrinkle here and the thumb so i'm going to pull that out a little bit better and maybe pull out some of that highlight on this finger because that's maybe a little bit here sheesh i really wish i was using charcoal right now because uh this colored pencil not easy to erase not giving me the flexibility that i would like to have right now in my drawing like this uh more here like that that's a little bit better close getting close maybe lift up some of this i sort of lost this up here yeah that's gonna help me a little bit because i i sort of like how this part of the palm like the edge sort of disappears a little bit and if i can lift some of that out that might make a big difference maybe like that maybe some more subtle lines there's a lot of them i mean i'm not really trying to get them that accurate oh my oh there's kind of a line here okay i gotta get it back i feel better about the top hand i feel like down here though let's just spend the last little bit of time [Music] on this section here because i still don't feel great about these wrinkles i feel like they're drawn on instead of being like part of the pose so i'm gonna try to get these a little bit stronger with the line work like this okay let's blend these in maybe maybe they just needed to be blended in a little bit better because i feel like i don't know here i am going too dark again though this definitely is too dark i can't help it i like dark lines see this needs to be patchier i feel like i made it the shadows are like too straight like they shouldn't be so even in my opinion let's try that um that looks terrible okay that is way too much color pencil in that section and i think i need to cut back all right i i really you know this is what it needs it needs highlight here and a stronger highlight here and maybe a patch here is that now it's all smudgy i don't like that but i did lighten it up and that is maybe important because yeah but there's this ugly like patch of crap here i don't like this do you like that is that a little bit better ugh now i'm starting to get a little compulsive this is maybe not good i think i might be starting to pick which to me is a sign that maybe it's time to call it a day i just really want that a little bit better though and this could be a little patchier on this section here let me block in some of this okay i'm gonna do guys i got six minutes six more minutes to block this in get it in there oh man i shouldn't even started with the eraser because it's like totally messing with me now so that's the metacarpal oh yeah okay so this got too dark i'm gonna make this yeah i think i lost the shading that was in between okay that feels a little bit better to me still not psyched about this maybe in the last few minutes i can see what i really need i need my my um eraser stick my eraser stick would be perfect for this of course i don't have it because it's in storage like everything else i have right now is in storage i don't know if i like that i might just darken the whole thing again but i do i do like some of these strokes in here i just feel like i maybe overdid it this might be done uh let's do another pass with the eraser maybe maybe in here maybe pull some of this out oh and maybe a little bit here on the wrist i don't want to do too much erasing i feel like the erasing does get in the way quite a bit okay let's do another pass on these fingers up here at the top i still want to salvage this finger ah geez um maybe if i make them rounder i still want this spot i tried to erase it earlier maybe i just need to press harder oh that looks terrible okay let's really fix that that looks really bad i think i need more brown like this like that and maybe a little more roundness oh no no no that can't happen that's not good and then make this rounder okay maybe like another quick pass here it's really defined see this shadow i think it could be rounder is that what it is maybe it needs like a harsher rounder edge because that will make it look more cast shadowy i think like that is that better oh maybe this needs to lift that's a little oh i'm going to do it i'm going to do a little bit even though i don't want to do erasing right now this is actually helping to brighten some of these passages in the center part of the hand and although it's getting weird and blendy on me maybe that's not such a bad thing maybe i should try to embrace that a little bit more if we pull some of the eraser see the key to a lot of this stuff you guys you can't just do one thing in one place it's like the color it's like if you're gonna do eraser you put the eraser everywhere don't just put it in one area because that's when you get in trouble it's like it just ends up looking like a sore thumb so if you add it in a lot of different places it's often times a lot more successful yeah because like here is too much brown so if i add more blue that's going to shade a lot better it's going to blend more um i want this to be really sharp and maybe like there's a little bit of this like this really fine stuff that you don't do until the very end i mean you guys probably can't even really see what i'm doing because it's so subtle but it's good you'll see it in the photo like i'll shoot a photo i'll put it in discord and then you guys can get a more accurate view of what it actually looks like okay it's getting there i'm still still bummed about some of this stuff maybe if i just like really bulk this up like dark really dark because there definitely is like another level of darkness that you can add with anything i mean like if you make it like really thick maybe that's what i needed maybe i just needed like another pass of the dark blue to get that in place and maybe make this is it this um knuckle maybe i just need this knuckle to be more prominent like this one has to stick out a lot more i'm not sure god this drawing's a mess but you know at least it shows the struggle it shows the process of going through all these things and it's a process drawing is a process it's it's not so straightforward and i like it that way i like that it's unpredictable i like that i'm not sure what's going to go on i think that's okay there's enough things in the world that are predictable enough i mean there's a lot of things that are not for sure but i don't mind the unpredictability of that all right last second last minute guys let's do it another just quick pass of darkness get that in there i really lost a lot i keep doing this i keep like losing all my lights maybe that's why i'm doing those scrapes drawings on my instagram because it's actually the opposite where it's like it gets too light and then i struggle getting it to be dark enough so it's pretty tricky okay guys that's it okay we're done with this drawing all right well i will take a photo of it but let me see what you guys are saying in the chat see what's going on okay phyllis is saying important to hear you talk through your process really shows and teaches in real time kane feather morris says i like how interactive live streaming is it feels like there's more of a connection for sure and croco code meant when your comment gets noticed and replied to in real time it's different too yeah it's so different and celeste is saying in a live stream you can interact in real life for me it feels different to watching videos it's like seeing the real person without editing oh and i like this comment from joey we can have camaraderie see the process offer support help each other ask questions as in addition some of us are freelancers we're isolated and this is social time yeah you need that social time as an artist i mean as much as i like drawing and i like doing all these different things there's something very different i think about being able to talk to people uh joey says lifting up the eraser really added some dimension would you at any point in the future use a light green to any parts of this piece i mean i could at some point i don't like to use a lot of colors because i feel like it's hard to layer in this amount of time so that's why i sort of stuck with the brown and the blue but for sure i mean you can add whatever colors you like and let's see phyllis says live drawing shows us the minute by minute process and struggles you show how you troubleshoot and think through issues with minimal cursing oh geez you guys don't want to hear what it would sound like if i was um sitting alone in a room and wasn't worried about getting demonetized on youtube rprof has a podcast it's available on spotify and also on itunes and remember you guys in a few minutes i'm going to be hanging out in the our prof discord in the draw alarms channel so i'd love it for you guys to join me there please subscribe to our channel and join the artpra family and thank you so much to our top patreon supporters thank you to everybody who drew along with me i had so much fun everybody thanks for watching i'll see you next time

Channel: Art Prof: Create & Critique

Views: 3,260

Rating: 4.9682541 out of 5

Keywords: drawing live stream now, drawing tutorial for beginners, drawing tutorial step by step, live demonstration drawing, live drawing for beginners, live drawing stream, live stream drawing class, drawing hands tutorial, drawing hands for beginners, drawing hands easy, drawing hands tutorial for beginners, drawing hands tips, hand drawing tutorial, hand drawing art, hand drawing tutorial for beginners, hand drawing easy, hand drawing tips, hand drawing practice

Id: dqhRfv0yzO0

Length: 157min 35sec (9455 seconds)

Published: Tue Sep 15 2020