This was such an informative tutorial. Not only I need to be more patient but break down the areas that I work with. Thank you so much for sharing your techniques with us.
Because I'm principally known for drawing dogs, which can be quite complex at times, I quickly learned to lower the stress levels by breaking the drawing down. And then I found ways to break those parts down to - even dividing line and tone into two operations. And I found that I was beginning to draw - as I said in the video - what I expected to see in Nature, so the result tended to look natural. So, yes, break it down and slow down, because that at least results in giving yourself enough time to understand what you're drawing.
Stumbled across this channel and so glad I did, super talented artist and the content is just brilliant. Such a calm and natural delivery and through watching them over and over again I know this will help transform my approach to drawing.
Thanks, Gloria. I learned a long time ago that anything is achievable if you break it down into manageable pieces. And all I'm doing in this video is drawing what I'd expect to see in any small place. And, of course, that feeds on itself - the more you draw, the more you take note of the world around you, so the more knowledge you have to build into your drawing.
I really appreciate the professional and calm breakdowns you did here, my professor has been talking about how I need to bring my values darker in my flora but I haven't really gotten any concrete steps. I've got to try this method with fire and hair!
This method of negative drawing evolved from drawing hair - because I'm known for drawing dogs. It's a field where a lot of artists use erasing to create light on dark, but I was never satisfied with that, because erasing creates soft edges. That's something that never occurs naturally in hair. Or in foliage. Over time, negative drawing became my go-to for everything. Working background to foreground and dark to light. And, of course, as soon as the first black is established, I instantly know the entire palette of values available to me. If drawing strong darks is something you have a problem with, take a look at th-cam.com/video/EZ0oqyrr-Gw/w-d-xo.html, and maybe th-cam.com/video/zRpFUbyYAGQ/w-d-xo.html too. Coincidentally, I'm currently working on the third (of possibly 5) videos on drawing hair. If you join me at DrawWithMike.net, you can view all the videos, for the cost of a cup of coffee each week.
Omg, it almost took my breath away when you zoom out out at the end of this video, and gradually showed the whole scene! 😳😍 - It’s one of my favourite drawings of yours, and is magnificent, especially after watching you draw this tiny part of it, with such detail. I bought your book about 2007, and started one of your courses in 2019, but due to other commitments, couldn’t go further than the first lesson…. I’ve now stopped working, and am prioritising and re-visiting all the lessons I’ve paid for over the years. I’m so looking forward do actually sitting down to draw. Your lessons are on my weekend and I’m so looking forward to this new chapter in my life. I lose all sense of time when I draw and if feels like this is what I was put on earth to do. Noni x
Noni, I seriously suggest you join us at www.DrawWithMike.net/joinus.htm, where you can watch all the videos. They currently cover both the Beginners and Intermediate courses. And they're based on your book, So, that would be the quickest way to get back into drawing. You'll find a few of them here at TH-cam, but there are over 50 at DWM. And there's nothing to stop you from joining, paying the monthly fee (£6 or about US$7) and then cancelling again after you've watched everything. We have a Support Forum, too, where I can answer any questions you might have. And as for losing all sense of time while you draw... I know exactly what you mean! I've had times when creating contrast was a real problem - then I've looked up to find it's so dark I can barely see the far wall of my studio. :)
@@drawwithmike - Thankyou for your reply Mike. I just looked at my records and I bought 'Line to Line' in 2019. I'm pretty sure it's a beginner's course. Is that also in your website you mentioned? I love your story about realising you were drawing in a darkish studio. - So typical of being in the zone. My family can't believe that when I'm in the zone, that I've forgotten breakfast and lunch, and wonder why I'm starving and didn't realise it's dinner time. - They're not Arty, and don't understand. They just think I'm a bit mad. Lol. But I'll definitely check out your website
Well, you'd have to join us at DWM (www.drawwithmike.net) to see them all, Kathy, but I am posting a few here. Thanks for letting me know you found it useful.
Really glad to find you on line. Your work is wonderful. Took a workshop with you years ago in California. It changed my work so much for the better. Thank you! I'm now working with ink and watercolor, exploring how to apply this method with these new mediums (if possible). Also attempting to combine this with a looser style (if possible). Just joined Draw with Mike.
Good to meet up with you here, Jo. At DrawWithMike, the Basic series covers all the techniques, but you'll find the Creative series covers topics that work regardless of the medium used. I'm working on the final video now (Drawing Trees), then the future videos should help you even more. In this case, negative drawing is applicable to both your watercolour and pen work - given that they share a lack of white with graphite. Yes, I know you can use an eraser, but that never produces the sharp edges of realistic shapes, where negative drawing does.
@@drawwithmike Thank you for your reply, Mike. Will check out the Creative series you mention. Really look forward to your video on drawing trees, one of my current obsessions. : )
Hi Mike! Thanks for the explanation. How much detailed work! 😮To be honest, I don't know if I have that much patience to draw like this. That explains why your drawings are so amazing! Here you perfectly exemplified your previous video: Divide and Conquer. It also caught my attention how you got such different values with only 3 graduations (2H, HB and 2B (most with the latter)). I loved the contrast between a very dark grey in a single line to a soft grey where you pretty much just stroked the surface of the paper. It was so relaxing! And the music allowed to enjoy the process. Have a nice day Mike! 😊
What I found was that when you don't force it, you break everything down into manageable bits, and you simply draw what you'd expect to see... the result almost always looks real. Because if it didn't feel real, you wouldn't have drawn it that way. :)
@@drawwithmike Thank you for the advice, sounds pretty logical :) I will try to incorporate that into my thinking process! From the perspective of a master artist it probably seems easy, but for me keeping the end result in mind all the way is not a trivial task yet.
Wow what a great rendering this drawing looks so real. Sir i have a doubt what kinda paper do you recommend for beginners? cause there are so many types of papers out there..I'm confused which one to begin with. Please help me. Thanks for the video!! 👍
I don't have a wide knowledge of papers, because I found my ideal one early. That said, I prefer smooth, and the smoother, the better, because I detest any paper that interferes with what I'm trying to draw. Originally, I use Ivorex. That became Mellotex, which in turn changed from being widely available in art shops to becoming an archival printers paper. Then the parent company pulled the plug on that paper. Now I use another archival plate-finish paper called Conqueror Diamond White. It's almost identical to Mellotex, but is an even brighter white. It was Conqueror I used in this video. So, if you're just starting out, try as many papers as you can find to see which best suits you., If you want to try Conqueror I sell it on my website (SRA2, 250gsm), and I ship it worldwide. Failing that, you could try a Bristol board, or perhaps one of the Strathmore papers. I've drawn on Strathmore 300 (400? I'm not sure) but it wasn't as smooth as it looked, so I've not used it since. Ultimately, it's down to personal choice.
@@drawwithmike Hello Sir, Sorry for the late reply....those papers are quite expensive for me cause I'm just a beginner and I'm practicing loose sketches. So i decided to go for Strathmore 300. Conqueror definitely in my list!! After all i saw the quality of the paper in this video. Thanks for the Info Sir! 🙂
Full and total comprehension of a subject upon the initial watching of an instructional video, for me, is not a reality. I will have to view this video many times over a span of time for all the information to sink in, and be filtered through to my hands as working knowledge. With that said, you mention each shape has two meaningful sides in the initial demonstration you show, but with your central shape/shapes all four sides of the polygon are being utilized. What crumb of insight am I missing there? I do not expect a response, but if you do find the time I will be much obliged!
I'll try :) You're referring to what I call the "street map" exercise. In that, each shape has two sides that HAVE to comply with what has already been drawn. Both edges continue "streets" already begun. Those two sides diverge, which leaves a gap between their ends. Personally, I prefer to draw a random connection. That might be a single straight side, a curving side, or possibly two or more sides. That randomness now affects the "streets" in that area. The basic goal of the exercise is to make a mark and then expand it while MAKING LOGICAL SENSE of future marks. The random element prevents you from being unnaturally repetitive. With the extreme background (the blacks) established, work can now be carried out on the flat white foreground. You can create depth by pulling some elements forward, moving others back. And you know the values to use to achieve those things, because at each stage each element is surrounded by its immediate background. I'll try again if that doesn't help...
I am amazed at the amount of detail that is in the drawing when you opened up the screen to show the full drawing, stunning. Thank you for sharing.
This was such an informative tutorial. Not only I need to be more patient but break down the areas that I work with. Thank you so much for sharing your techniques with us.
Because I'm principally known for drawing dogs, which can be quite complex at times, I quickly learned to lower the stress levels by breaking the drawing down. And then I found ways to break those parts down to - even dividing line and tone into two operations. And I found that I was beginning to draw - as I said in the video - what I expected to see in Nature, so the result tended to look natural.
So, yes, break it down and slow down, because that at least results in giving yourself enough time to understand what you're drawing.
Stumbled across this channel and so glad I did, super talented artist and the content is just brilliant. Such a calm and natural delivery and through watching them over and over again I know this will help transform my approach to drawing.
Thanks. Awesome technique
I am a self taught beginner. I am completely blown away with this technique. You are one gifted artist!
Thanks, Gloria. I learned a long time ago that anything is achievable if you break it down into manageable pieces. And all I'm doing in this video is drawing what I'd expect to see in any small place. And, of course, that feeds on itself - the more you draw, the more you take note of the world around you, so the more knowledge you have to build into your drawing.
I really appreciate the professional and calm breakdowns you did here, my professor has been talking about how I need to bring my values darker in my flora but I haven't really gotten any concrete steps. I've got to try this method with fire and hair!
This method of negative drawing evolved from drawing hair - because I'm known for drawing dogs. It's a field where a lot of artists use erasing to create light on dark, but I was never satisfied with that, because erasing creates soft edges. That's something that never occurs naturally in hair. Or in foliage.
Over time, negative drawing became my go-to for everything. Working background to foreground and dark to light. And, of course, as soon as the first black is established, I instantly know the entire palette of values available to me. If drawing strong darks is something you have a problem with, take a look at th-cam.com/video/EZ0oqyrr-Gw/w-d-xo.html, and maybe th-cam.com/video/zRpFUbyYAGQ/w-d-xo.html too.
Coincidentally, I'm currently working on the third (of possibly 5) videos on drawing hair. If you join me at DrawWithMike.net, you can view all the videos, for the cost of a cup of coffee each week.
Thankyou sir your technique is really amazing
Omg, it almost took my breath away when you zoom out out at the end of this video, and gradually showed the whole scene! 😳😍 - It’s one of my favourite drawings of yours, and is magnificent, especially after watching you draw this tiny part of it, with such detail. I bought your book about 2007, and started one of your courses in 2019, but due to other commitments, couldn’t go further than the first lesson…. I’ve now stopped working, and am prioritising and re-visiting all the lessons I’ve paid for over the years. I’m so looking forward do actually sitting down to draw. Your lessons are on my weekend and I’m so looking forward to this new chapter in my life. I lose all sense of time when I draw and if feels like this is what I was put on earth to do. Noni x
Noni, I seriously suggest you join us at www.DrawWithMike.net/joinus.htm, where you can watch all the videos. They currently cover both the Beginners and Intermediate courses. And they're based on your book, So, that would be the quickest way to get back into drawing. You'll find a few of them here at TH-cam, but there are over 50 at DWM. And there's nothing to stop you from joining, paying the monthly fee (£6 or about US$7) and then cancelling again after you've watched everything.
We have a Support Forum, too, where I can answer any questions you might have.
And as for losing all sense of time while you draw... I know exactly what you mean! I've had times when creating contrast was a real problem - then I've looked up to find it's so dark I can barely see the far wall of my studio. :)
@@drawwithmike - Thankyou for your reply Mike. I just looked at my records and I bought 'Line to Line' in 2019. I'm pretty sure it's a beginner's course. Is that also in your website you mentioned?
I love your story about realising you were drawing in a darkish studio. - So typical of being in the zone. My family can't believe that when I'm in the zone, that I've forgotten breakfast and lunch, and wonder why I'm starving and didn't realise it's dinner time. - They're not Arty, and don't understand. They just think I'm a bit mad. Lol.
But I'll definitely check out your website
I have to watch more of your videos. This is great stuff!!
Well, you'd have to join us at DWM (www.drawwithmike.net) to see them all, Kathy, but I am posting a few here. Thanks for letting me know you found it useful.
Really glad to find you on line. Your work is wonderful. Took a workshop with you years ago in California. It changed my work so much for the better. Thank you! I'm now working with ink and watercolor, exploring how to apply this method with these new mediums (if possible). Also attempting to combine this with a looser style (if possible). Just joined Draw with Mike.
Good to meet up with you here, Jo. At DrawWithMike, the Basic series covers all the techniques, but you'll find the Creative series covers topics that work regardless of the medium used. I'm working on the final video now (Drawing Trees), then the future videos should help you even more.
In this case, negative drawing is applicable to both your watercolour and pen work - given that they share a lack of white with graphite. Yes, I know you can use an eraser, but that never produces the sharp edges of realistic shapes, where negative drawing does.
@@drawwithmike Thank you for your reply, Mike. Will check out the Creative series you mention. Really look forward to your video on drawing trees, one of my current obsessions. : )
Thanks. Like your work.
This is awesome. I'll need to watch it again.
Good idea - because I did cram in as much as I could in the time. 😉
Hi Mike! Thanks for the explanation. How much detailed work! 😮To be honest, I don't know if I have that much patience to draw like this. That explains why your drawings are so amazing! Here you perfectly exemplified your previous video: Divide and Conquer.
It also caught my attention how you got such different values with only 3 graduations (2H, HB and 2B (most with the latter)).
I loved the contrast between a very dark grey in a single line to a soft grey where you pretty much just stroked the surface of the paper. It was so relaxing! And the music allowed to enjoy the process. Have a nice day Mike! 😊
@@drawwithmike 😊🌻
this is so nice I feel like I'm back in art class
Thanks, Wolf! That means more to me than you might imagine :)
Thank you for sharing your experience! Love the very natural looking outcome!
What I found was that when you don't force it, you break everything down into manageable bits, and you simply draw what you'd expect to see... the result almost always looks real. Because if it didn't feel real, you wouldn't have drawn it that way. :)
@@drawwithmike Thank you for the advice, sounds pretty logical :) I will try to incorporate that into my thinking process! From the perspective of a master artist it probably seems easy, but for me keeping the end result in mind all the way is not a trivial task yet.
Thanks !
Wow what a great rendering this drawing looks so real. Sir i have a doubt what kinda paper do you recommend for beginners? cause there are so many types of papers out there..I'm confused which one to begin with. Please help me. Thanks for the video!! 👍
I don't have a wide knowledge of papers, because I found my ideal one early. That said, I prefer smooth, and the smoother, the better, because I detest any paper that interferes with what I'm trying to draw.
Originally, I use Ivorex. That became Mellotex, which in turn changed from being widely available in art shops to becoming an archival printers paper. Then the parent company pulled the plug on that paper. Now I use another archival plate-finish paper called Conqueror Diamond White. It's almost identical to Mellotex, but is an even brighter white. It was Conqueror I used in this video.
So, if you're just starting out, try as many papers as you can find to see which best suits you., If you want to try Conqueror I sell it on my website (SRA2, 250gsm), and I ship it worldwide. Failing that, you could try a Bristol board, or perhaps one of the Strathmore papers. I've drawn on Strathmore 300 (400? I'm not sure) but it wasn't as smooth as it looked, so I've not used it since. Ultimately, it's down to personal choice.
@@drawwithmike Hello Sir, Sorry for the late reply....those papers are quite expensive for me cause I'm just a beginner and I'm practicing loose sketches. So i decided to go for Strathmore 300. Conqueror definitely in my list!! After all i saw the quality of the paper in this video. Thanks for the Info Sir! 🙂
❣️
Full and total comprehension of a subject upon the initial watching of an instructional video, for me, is not a reality. I will have to view this video many times over a span of time for all the information to sink in, and be filtered through to my hands as working knowledge. With that said, you mention each shape has two meaningful sides in the initial demonstration you show, but with your central shape/shapes all four sides of the polygon are being utilized. What crumb of insight am I missing there? I do not expect a response, but if you do find the time I will be much obliged!
I'll try :)
You're referring to what I call the "street map" exercise. In that, each shape has two sides that HAVE to comply with what has already been drawn. Both edges continue "streets" already begun.
Those two sides diverge, which leaves a gap between their ends. Personally, I prefer to draw a random connection. That might be a single straight side, a curving side, or possibly two or more sides. That randomness now affects the "streets" in that area.
The basic goal of the exercise is to make a mark and then expand it while MAKING LOGICAL SENSE of future marks. The random element prevents you from being unnaturally repetitive.
With the extreme background (the blacks) established, work can now be carried out on the flat white foreground. You can create depth by pulling some elements forward, moving others back. And you know the values to use to achieve those things, because at each stage each element is surrounded by its immediate background.
I'll try again if that doesn't help...
@@drawwithmike I am with @zachalicea1987 in that i was a little confused at the beginning stages. Your reply/explanation is very helpful. Thanks