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Art Lessons: Flower Drawing

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[MUSIC]
So looking at this calla lily still life.
You know the same principles of drawing
the figure or
drawing anything really apply.
It's just it's shape, it's tone,
it's value, and then it's color.
So we're gonna do a quick impressionistic
interpretation of these flowers.
First let's start with some basic drawing.
So of course, you always like to measure
to see where your top is.
And incidentally, I'm just using a typical
HB pencil
on cold press illustration board.
I like cold press cuz it's got a, it's got
a really nice tooth to it.
And paint has a tendency to dry fairly
quickly on it.
So that's, that's kinda important for
me, because I have a tendency to paint
very fast.
If you like to slow down and retard the
drawing process, then you can
obviously add a, water to it.
So that, that makes it more transparent,
more liquidy and slower.
Or you could kinda like, you know, add a,
a layer of mist to it as well.
If you're painting in oils, obviously you
can
add some medium to slow it down from
drying.
But oil's pretty slow in general.
So I'm just taking some really basic
measurements,
not, not, not some big one so that I can
kinda see what I'm doing.
And, just while we're looking at the
shapes of these beautiful flowers,
it's just so glorious.
And in fact, in places they look almost
luminescent.
So it's kinda interesting.
And flowers are.
Always fun to paint because you don't get
a lot of saturation in nature.
Things in nature really are grays, and
greens, and blues, and browns.
But in, but in flowers you really get a
lot of pure color.
A lot of saturation.
Saturation mean purity of color.
You get a lot of that.
You know, even these stems, when they're
lit, they just kinda feel, luminescent.
And you're really just looking for the
direction of these things.
Just this is moving this way.
This comes up.
It's also like simple shapes.
Like a cylinder.
That feels like it's a little higher.
And I'm just feeling, being really loose
about everything.
But I like to draw just to kinda get a
feeling for it,
get an understanding of it.
Feel how the shapes are.
How beautiful they are.
And also, when you draw it you kinda,
it's like going over going and rehearsing
it.
So that when you do paint it, you always
kinda,
you've already done like a dry rehearsal
which is nice.
I'm just measuring that top leaf here.
I'm not really thinking about value yet.
I'm thinking about shapes.
Simple shapes.
And how everything
kinda goes together.
And this is all, and this is where I use
an eraser.
Because sometimes especially when I'm
painting I don't
like to use a prisma stick.
Because you know you gotta,
gotta leave some margin of error.
And this is going this direction and
this is going this direction.
This is coming up, this is crazy negative
shape here.
This is coming up.
This circles around and
yeah it's like a straight line over here,
back.
And don't get caught up in the persnickety
details, it's not important.
Always taking really fast [SOUND]
measurements.
And kinda moving back.
To here.
And just getting these simple shapes.
This goes that direction.
This lily which is closest to the light
source comes out.
And just to know the top of that is right
about here.
That's gonna be the top of that.
And this goes that way.
This is that way,
up, out,
around.
Back
down.
And you see your just kinda mapping it all
out, getting it all down.
And sometimes when I do a painting, I do
lose everything, you know,
I'm not gonna say that I don't.
But it's also like I've been
through the process of it.
So, I have kinda of a better understanding
of where things are.
Now, I don't know if I'm gonna get into
all of this information here.
Maybe just a little bit.
So these stems kinda go down.
Down, a lot of interesting
negative shapes going on.
This way, that way.
It even comes closer here.
So you can see my, my eye's always
measuring, always measuring,
always thinking about stuff.
Always saying, wait a minute.
Trying to be critical thinking at all
times.
The brain's gotta be on fire.
This comes up.
But my main concern is really getting
these three beautiful flowers.
So secondary concern or this,
these plants in here.
I'm constantly just figuring out
measurements.
It's like putting together a jigsaw
puzzle.
That's how this feels.
Like, okay, well.
They're all over the place, but if I kind
of figure this distance out, and
I figure this distance out, and I figure
that space out.
And I figure what this shape is, and I
figure what that shape is,
eventually I'm going to figure out that
jigsaw puzzle.
Now just keeping that pencil kinda free.
Kinda keeping it open.
And even, even in plants you see there's
always a center point here.
The center point here, center point here,
the center, central axis here.
So, there's always gonna be that.
And of course, the edge of that pot
kinda lines up perfectly with this here.
So that's kinda where the edge of that
pot's gonna be, and
it's gonna go down like that.
It's gonna wrap around and back here.
And this side's gonna be right around
here.
Now, you don't have to be super accurate
with this because
no one's gonna really know, right?
No one's gonna know.
No one's gonna see that and see this.
You're seeing me.
But they're not gonna see yours, right?
They're not gonna see what your still life
is, so
you could take some artistic license, you
know?
And you gotta do that sometimes because
sometimes it's like, well,
that doesn't really look that good, you
know.
Maybe I could do something where it looks
better than that.
That being said nature is the greatest
teacher.
So if we draw from nature we're doing
something really good.
Because the reality is that nature
will teach you everything, everything.
Nature doesn't lie.
Might not always look great.
Might not always be the best solution.
But it doesn't lie.
I mean I was, I was actually.
The other day I was looking at some
amazing clouds and I just felt like oh,
those are really too pillowy.
Like, they look like a bad digital map
painting.
But you know, so it does happen, but in
general you know,
nature is just the best, best teacher.
So just.
That's kinda how, how I would, maybe block
this, block this in.
[MUSIC]