Brief Summary
This video introduces the first project of the Atelier Tier, focusing on the Bargue plate of the Psyche of Napoli. The tutorial covers key concepts such as understanding shadow shapes, using envelope shapes, laying down value, stumping, and adding complexity. It also includes a group critique of student submissions, highlighting common issues and successful approaches.
- Focus on simplifying the subject to its base elements.
- Understand and utilise shadow shapes as a tool for representation.
- Strive for consistency and discipline in your drawing process.
Intro
The Atelier Tier's first project uses the Bargue plate of the Psyche of Napoli as an introductory exercise, similar to what students would encounter on their first day at the academy. This particular plate is chosen for its simplified features, making it ideal for understanding shadow shapes and intermediate areas without being overwhelmed by detail. The goal is to learn how to define, understand, and recognise shadow shapes, and to create shapes from observations.
Envelope shape
The envelope shape is a 2D concept that focuses on the contours of a subject. It involves purposefully extracting what you need from the subject, rather than just following what is there. This editing process is crucial for suiting the current stage of the drawing. The initial step involves creating the envelope shape with a limited number of lines, indicating the top, bottom, left, and right positions in relation to a plumb line. This provides the first set of proportions and a general idea of the subject.
Shadow Shape
The understanding of shadow shapes is a primary focus of this project. The way you perceive and define a shadow shape will evolve with practice. By consistently considering this concept in your drawings, you will deepen your ability to recognise, illustrate, and use shadow shapes as a tool for representing a subject. The process is fluid, allowing for different interpretations. The instructor indicates the first shadow edge, noting how recognisable the subject becomes as shapes are simplified and a simple dichotomy is created.
Laying down value
The next step involves applying a basic, relatively uniform value within the shadows. Using a sharp pencil, the value should be laid in evenly, moving laterally from left to right to create a consistent tone. A squint test is then performed to identify aberrant values, areas that are too dark or too light, which are then adjusted with a kneaded eraser. This process emphasises consistency and discipline, which are essential for achieving a result that aligns with your vision.
Stumping
When using a stump, avoid overdoing it. It's not crucial for the value to be perfectly smooth and even at this stage, but it should be by the end of the drawing. However, even then, the goal is not to achieve an airbrushed look, as that does not accurately reflect reality. A 0.3 mm pencil with a B lead is used to reinforce the shadow edges, creating a slightly darker value along the edge while maintaining a transitional quality.
Adding complexity
Adding complexity involves carving out new shapes while staying true to the larger shapes already observed and keeping things defined with straight lines. This includes separating the values within the shadow into two distinct values to show variation and reflected light, which gives the shadows form. The aim is to darken and unify the shadows subtly, controlling the edges without making them too sharp. Hard edges should be reserved for contours and used sparingly to avoid locking into a decision too early.
Group critique
The group critique addresses common problems in student submissions, focusing on proportion, construction, and measurement. Issues include vast differences in proportion compared to the source material, indicating a need for more time spent in the initial stages. The envelope shape concept is further explained, emphasising that it doesn't need to stop at just the outline but can also connect structural symmetries and constructive volumes within the subject. Oversimplification, particularly in the edges between shadow and light, is also discussed.
Well done submissions
The critique also highlights successful drawings, focusing on what is working and why. These examples demonstrate clear angle breaks and a balance between analytical observation and soft edges. The artists have focused on creating a gradient between shadow and light that corresponds with the definition of the form, without obsessing over creating the smoothest transition. The video encourages viewers to reassess their drawings, considering edge and value hierarchies, and the confidence in their initial block-in angles. The learning process and the act of creating a drawing are emphasised as the most important aspects, regardless of perfection.
