All right.
So I was like sure I'm going to do a demo showing you how I would go about sketching a landscape from
life.
Your assignment is going to be to do the same thing you can either use a photo if you aren't able to
get from life.
But if you are able to get from life like if you have an iPad I recommend going out and actually trying
to get from life.
So this is a photo we're going to use a lot of quick.
You can see it in better detail but I just have it pushed over into the corner so that we can see our
canvas better.
OK so this is what we're going to be drawing.
Right.
And remember if you're drawing from life to first start with framing your object.
Right.
So we know what exactly were drawn.
Obviously if we have a photograph it's already been framed there's no peripherals we have to worry about
30 frames but if you're drawing from life you're gonna need to make sure you have framed or decided
what is going to be inside your drawing.
You can also make sure you set a time limit for yourself so we're going to say a 30 minute time limit
and try and do less than that.
And if you do less that's fine but we don't want to go over.
So first thing I do to start out is to kind of divide roughly divide everything in two thirds so working
digitally we can actually literally divide it into thirds.
So I'm going to do that.
We have our image here and I'm actually yeah we'll do this so if we were to divide this into thirds.
Looks like the third point would be about so probably about there and there is pretty close to thirds
pay and then the third is going this way is going to be about here about here.
Roughly give or take.
OK.
So now I can just actually duplicate this layer
put it that way but that way.
And then just move it into place close enough.
Okay.
And I was going to murder it down to the petro layer and then I can connect these like loops connect
these lines across over the past year or so it doesn't get super distracting.
Does it look like I got it quite perfectly lined up.
But it'll be close enough for this to pass out and so you can see it.
We're just going to go where it looks even the same thing.
So let's just make it even and there for that one bow there for that one.
So that's roughly divided into thirds and this will give us a somewhat of a good idea of where things
need to be place on this image and you can do this kind of mentally divide the image up into thirds
of your drawing from life as well.
So we're going to start with the outline of the silhouette basically the outline of the mountains so
we're starting here.
Well way too big.
We're set up here with this mountain and we know that it's kind of halfway through that top third cock
quadrant.
OK.
And it comes down to here.
And normally if you're doing something with a really clear horizon line always trying to solve that
first so that you know where on the page that horizon line is going to be.
OK so then we have these mountains up here.
They come down to form this mountain peak.
OK.
And then that's going to come to about the middle of that middle square roughly once hit this sort of
tree line here going to come and dip down below that line slowly start working its way up over here
until it hits that green patch and then it kind of slopes up a little steeper.
All of a sudden we have this mountain range right about there and then here and then it shoots up and
attaches to the roof or the top of our page right there.
And I really can't.
You should also when you're drawing from life you should be spending the majority of your time your
demurred.
The majority of the place here I should be looking should be at your reference photo or from life if
you're spending more time looking at your drawing than you are looking at the actual reference.
You're doing it wrong right.
You want to spend the majority of it looking at your image right you're trying to draw it so that you
can get get the all the different shapes and everything down correctly.
OK.
All right so we have these rough really rough shapes blacked out.
OK.
And it's really rough when I say rough.
OK.
Let's get this grass flying in here.
OK.
This shadow this shadow that's going to come up comes all the way up to here and then works through
over there.
It's blockin real loosely.
Some of these houses got some trees here which we can worry about in a minute.
This looks like a little too high.
Some are bring it down a little bit more.
And then over here we're going to have the roof of a house perfect then we'll have those trees that
are going to be over there some houses over here.
The church steeple is going to be the church steeples way over here.
OK.
And then we almost forgot we need this mountain range all the way.
It's going to be right back in here.
So we have that really roughly really loosely blacked out we're all kind of the major shapes and forms
are going to go right.
So now I'm going to lower the opacity on this one.
So it's pretty low.
Make a new layer and this layer I'm going to start getting a little bit more refined with my details.
I'm also going to move my reference farther down here because I'm just there at the top and I want to
start trying to match that outline pretty well.
OK.
So starting up here the top and I'm going to try to keep it pretty thin and pretty light because this
is going to be further back in the background and we don't want it to be really the focal point you
could see how it kind of fades away there because of the atmospheric perspective and we really want
to sort of try to emulate that.
And so many of you here get some of those tree masses as well as we're going to try to get these other
shapes that are actually in the mountains self.
So we have that we have this line that comes up.
This one comes up to here and then drops down to give us this sort of a shape and over here this are
a triangle shape more like a diamond.
I guess you have then the shape comes down
.
Make sure you're watching your timer right now or at the 10 minute mark so we're doing it.
But you want to make sure you're pacing yourself so you don't get around time or spend too much time
in one spot.
So that's pretty good there.
And then let's get this dark area.
So right now doesn't look like much because we haven't really gone in and added any sort of like their
values were just kind of like kind of the shapes.
But for now that's what we're going to leave it at.
That's OK.
So let's come up here to this other mountain peak that's up here.
I want to keep this really thin I can these little snowy peaks we have going on up here.
And then just grab the edges a little bit.
Just barely get this you know here it really takes a turn there.
As it turns away from the way most of this.
We're just going to have drop in the shadow so we have that.
Let's move our reference over.
We were drawing on the wrong frickin layer BLUEJACKET.
So right we're just going to do this.
We'll make a duplicate turn off one layer and you raise the reference photo on this layer and then turn
off that layer and turn this layer on at any rate said drawing on this layer and that will give us the
you separate layers we want there we go.
OK so now we can turn on and off by itself.
And this is all perfect.
So I'm going to go ahead and put down the top to lead that layer since it's nothing on it.
Make sure on it right now.
Now we can move reference are going to move to this side actually move it on top so we can see where
we're working.
So we're back on the floor.
Here we are let's work on these mountains up here the very far the Specularia mountains make sure and
really at this time we're good for this Bechler münze
.
And that's going to be all we do for that.
Now we're up to this cliff.
This one's a little bit more in the foreground.
And it also has all these trees on top.
So I'm going to try and break it up a little bit more on this one.
And then we have the clifftop a little bit of vegetation on it.
It's kind of working its way down the side of the cliff.
So that's good there for now.
Let's move on to this next part.
It's going to be a similar thing.
We've got the little plants up there.
And this is going to come down until it needs that tree line.
And this is going to be a bunch of greenery that's working its way up into the side of the mouth.
And it looks like we have a little waterfall here with these sort of rock shapes going on.
So we're trying to pick it up a little bit faster so we could get done in time for a time on it because
once you're done you're done even if you're not finished that's as far as he got on the picture.
Next time you just have to be a little bit faster be he that time limit say don't spend so much time
just sitting there noodling the same thing over and over again right.
You know when you're done because you're done when the time came.
So you got that mountain in there.
All right let's move our reference photo here so that we can start doing down in the tree line so sort
of here at this tree.
OK and I'm going to start slowly walking in values here.
We come a little bit faster.
So like in the eyes of this tree line here this is going to be all dark all over here because this is
all getting shadows.
This is shadow.
This is all going to be Shadow
have that in here we have these plans that come out over here and then this we have this tree here and
this big as well.
And these guys on the side get pushed back into shadow during some hatching here.
I'm not trying every individual branch Ray I'm just treating this like it's it's own large separate
form.
So all this stuff all the blood pressure really quick so we could fill this all in the shadow
.
We have a jump over here.
So this is all just going to be green grass.
You don't have to worry about that.
But we will grab this house really quick.
There are some hints of shingles there on the roof.
We're just kind of barely sort of hint at I guess super detail there.
And then the house which does have some windows and stuff here in the back but it's not a big deal because
most of that is going to be obscured in shadow.
OK we got that there.
Got the house got this shadow of the tree that's coming off over here.
We have a tree start adding in some of these other buildings that we see here.
Matt Maginnis exactly how I see it.
I'm just trying to get back into major visual landmarks.
All right let's get these houses in real quick.
Pretty simple right.
Perfect.
And then you can just barely see the top of the tree line over here on the other side.
It kind of fades away with all these little tiny buildings over here came.
So it's moved real quick here playing Summertime I'm also kind of blows away how fast it can make you
work and how much you can get done in a short amount of time.
Sometimes you kind of tend to take a while for the go slow and kind of look at things and sometimes
other times you just need to start getting stuff out there.
So we have that we have these trees here and those trees are going up this space right here might have
to simplify as well.
If I'm on this timeline here I'm probably not going to be able to get every single little detail that
I see.
So I'm going to end up simplifying a little bit.
That maybe cutting out some buildings and stuff these trees here.
Get this building in
am.
All right.
So we're going along we're going pretty close.
We've got to finish up this tree line and some of these bigger trees that we see here.
That's looking good.
We got the steeple that is going to be coming up right here.
And then it goes down behind that tree and then the rest of this just keeps crawling up the mountain
vegetation here.
Then we have the rest of our trees and a few buildings is going to schedule real fast and they're going
to be mostly obscured behind all these trees here.
So we're racing along here pretty quick trees in here that are filling up this space.
Right.
And then this hill here with the trees behind the OK of these trees.
Creeping up the side of the mountain.
Perfect.
All right.
So once we got most of that done down there was black in the shadows so we can at least have a better
light source or at least a better idea of where the light source is coming from.
OK.
See these trees here darken up a little bit.
There are some shadows down and back in these trees here and then these trees all have some deep shadows
inside of them.
We have the grassy field that kind of just do the thing over here.
Stress and contour lines help us understand the direction of the plane.
OK.
So let's let's hurry up and tighten up the mountains really quick.
And our last few minutes we have about five minutes left.
These down here at the bottom.
Let's try on some of these lines that's I think what will really help a lot is the idea that is sort
of like these cliff shapes coming down.
Some areas have sort of like trees on them.
Other areas are a little bit more bold.
Now this piece by itself is probably not going to be something that presents anybody right.
It's not going to be a masterpiece or anything like that however However by doing this I've learned
a lot of information about you know how these mountains are working and how these valleys look and stuff
like that.
And those are things that I can add to other drawings that are going to help me understand them better
when I'm drunk stuff out of my head.
I feel more real because I actually had to draw and look at pictures of mountains and valleys and buildings
right.
So even if this piece once it's finished isn't necessarily presentable worthy.
It did serve its purpose which was to help me understand and to do kind of like a study of this landscape
this moonscape right.
So it's still do its job.
And that's the point of view right.
Don't be upset if the time limit you didn't get completely perfect or finish right because you can see
I've been drawing for a really long time and I've done this a lot and I still didn't quite get it finished.
This isn't something I would call perfect.
I don't want to show it off to anybody.
But that's OK it's served its purpose.
I learned what I wanted to learn by drawing this and that was really the whole point.
Don't shy away from it.
I think we're about at a time or just do a few last minute touches here.
These little plants here growing down as well as Grubel and all these little tree or the foliage here.
And everything.
All right so it's a reference.
And look at it now.
A perfect.
Absolutely not.
Not even close.
That's good enough right.
We done that just about 30 minutes.
All right.
And if you're watching it it might look faster because some parts might have been sped up when I was
not talking but it took me 30 minutes to do.
OK.
Now clock says you can do is if you do it 30 minutes and you feel like man I just didn't really nail
it or I had a really hard time do the exact same picture again.
Exact same thing.
Set another timer for another 30 minutes and start all the way over from the beginning and you'll be
blown away by how much faster you can go the second time and how much more detail you can capture.
So it really just takes practice.
Don't get discouraged.
As you can see I mean landscapes are my strong point but if I put more practice into it I could probably
get a lot better at it.
So just keep practicing and I'll see you guys in the next lecture.