Drawing Study Part 3: Light Values

Christopher Clark
A free video tutorial from Christopher Clark
Professional Fine Artist, Art Instructor
4.8 instructor rating • 14 courses • 6,039 students

Lecture description

I will draw in the lightest values of the scene using the rubber kneaded eraser, explaining how to group values into large shapes.

I will explain the concept of "drawing with light"

Learn more from the full course

Impressionism - Paint this Venice painting in oil or acrylic

Learn Impressionism techniques by creating this Venice painting. For total beginner through advanced painters.

03:02:31 of on-demand video • Updated August 2020

  • Create an entire painting in one sitting
  • Learn about Impressionism and why it is so powerful
  • Understand how light works to make things look the way they do, and how to translate that into your paintings
  • Understand the concepts of Drawing, Values, Color, and Edges
  • Learn the value of brushwork. So much can be said with so few brushstrokes.
  • Apply all of these concepts to let your own personal style develop
English [Auto] K I've got RHC here we're going to add our light values and so we have all three that are made in life like squint your eyes very obviously the lightest value is this guy and frankly almost always the lightest value in your scene. It's going to be this guy that maybe some highlights and things here and there. But one big value almost always is your sky or big light value of a little room. There is a little chimney and a little of a lot of shapes with some of you it's hard to carve out now if you want. You can have a little chimney and later she's got your racer or pulling off the Turkel. Now we're literally drawing with light because we're not adding medium to make it lighter. We're taking away medium again. We're going to do something similar to this with our underpinning. When we do paint and you'll see how similar they are. It's really good. Every painting I do I do a charcoal study like this. It helps so tremendously. It's a tiny bit darker as he gets to the side. You know we can do is make this kind of layer as a little bit of a gradual thing. There was a couple clouds. You know you can push a little harder when your racer is full of charcoal. Saturday in his engine moved to another spot up his building. I recently just raced right through that hurt later. OK. Now we had a few other light values and some details on some of the buildings here. You see here these are all kind of grouped together. There's a tiny little bit there but not much. Biggest one maybe there is the one on this bridge. That's an important one right above change hands here. And it's not really about your dexterity you need a little bit of dexterity. This was more about the way you see things. So one we try to trying to change hands and you'll find it helps you out in a pinch and you've got a tough angle sort of doing this lefty but you know either way if you're you know put another hand and make the marking need to make it go back to what you're doing. It's got all rectangles. These are just little details on the throw in there right now. You don't have to do all these details. But they're nice to try out. You know you can try and see if you like them because maybe when you play with them and say oh that's too much or it doesn't really help me or is confusing or you know whatever. So could figure those out and see what you think may decide to leave out and make the decision that you like that which is you know. So this is about us making some crucial decisions. There is sort of a balcony thing here and these windows have some or we call it trim or something around the one of these buildings here is lighter it's a light value. And then there's sort of yellow one off in the distance. And I think we're going to lighten that value anyway. We do our painting to make add some distance to this. Gently erase some of the to be pushed further away. Well read we do our thing we do our actual painting. OK. And then yes there are attorneys here underneath the bridge as a couple things going on. Looks like I could bring this down a tiny bit vote there and now we can start doing some of these. And the water highlights reflections are literally just a mirror of whatever's above the surface there and that adds a lot of character for a quick. You get these two like pile on things that you didn't do. But we can try them out now and then we're doing lights but I guess this is an important little detail that I missed. When I love that. It's a little reflection something. And suddenly things started to look like a Venice scene a little more a couple of reflections here all these boats. OK. So there's a piece right there. That's a boat. There's another boat and this one's not that this is a blue tarp over it or something. See how simple that was. We can add more details later but for now we just indicate there there and there's the slight dark volume between them. So let's see and maybe it gets a little bit lighter way up here as you start to see the sky. The skies are so through. Couple here so these will be nice to get these little tiny details will matter later. So you can try it out there we can look at our scene as a whole and say does this scene even look good. Because And as you do this you know like this scene just doesn't look good and I don't know why. Well figure out now because you can solve the problem. And then when you do the paper you'll have all these problems solved and it will go so much easier. You're painting with this come together magically not magically still work. But you know you solve the problems. So when you do the painting everything comes together much more easily. You've seen it easy it's not easy but you get what I'm saying anyway so there our study so it can still be seen looks nice we have our light values our dark values and our intentions. We play with some details. We practice the drawing once we laid everything out found things that I made that too high. Hoof it down you know find all the angles make sure things in the right place so nothing will surprise us later on. You don't want to spend all this time doing your detail and then realize you moved everything over too far in our room. So everything's in the right place. So this was a good study. Now we're ready to do this exact same procedure but with paint so there we go up.