Pen and Ink Drawing Tutorials | Cross-hatching and shading tips from Peter Paul Rubens Video Lecture | Develop Drawing Skills: Basics to Expert - Art & Craft

so in this video I figured I'd give you
guys some tips on using cross hatching
by referring to an example by Rubens and
you'll notice that this is the second
time I've used as drawing of his it's
because it's really good at it and he's
a good example of what you should do
when you're effectively using cross
hatching to render the figure now before
I actually draw this what I'm gonna do
is I'm gonna actually point out some
things that he's doing here that is
really effective in being able to create
that sense of volume in his joints and
what he's doing here is he's using a lot
of egg like forms actually that I think
it's it between the egg and I'd say like
a tube or like a like a comb something
like that and and perhaps lastly
something like this and of course this
varies in size I hope you know tube or
like a cylinder okay now now when you
look at his drawings right especially in
this drawing see a lot of little bulb
like spherical forms that's pretty much
what he's repeating now the interesting
thing is especially you look here it's
not anatomically correct however because
of the way he he's not arbitrarily
creating forms everywhere it's almost
like there's one continuous form like
this and then he breaks it up into two
forms so for example he may have
something like this right and then he
may do something like this with it so
you may have three forms instead of just
one especially if you look like right
here so instead of just rendering this
entire form as just like this he may
render it one at a time and I'm gonna
show you how he does that now another
thing I'll point out is the types of
lines that he uses now this is you know
you can render a form like this in a
couple ways now you see examples of how
he renders a form like this like so so
he uses lines that actually go along
the length of the forum okay and there
are other other examples of where he
cross hatches across and then there's a
second set that goes in the same
direction pretty much like this alright
and then there are other examples where
the cross hatching actually goes in the
opposite direction but but you know you
should note that in these three examples
the crosshatch lines are still going
around the forum and that's the
important thing that the lines that you
use should always accentuate the volume
of this form so in other words if it
goes like this it's still going around
it see if it goes like this it's still
going around it see and if it goes like
this it's still following the form if it
goes like this it's going around in the
other direction it's going around so
your form should always follow the the
accentuate the curvature of the form
okay so that means you have to envision
what this form is that you're drawing
before you actually do it in the same
sense here now another thing that he
does point out is that the use of
reflected light meaning if this is a
form okay and let's just sketch in a
little line here those dotted line so if
a light source is coming from this end
and that means you know shadow is gonna
be on this side see I refer to this line
as the shadow border because it
separates the area of light from the
area of shadow right now at the shadow
border is where you find the beginning
of the shadow and what is normally
referred to as a shadow core or this is
pretty much where the the shadow begins
see and in this area is the area that
seems lighter than this because it's
receiving reflected light in other words
there's no direct this light source is
not reaching this area directly this is
being illuminated from light bouncing
off surrounding surfaces and that's what
you're seeing in areas like this okay
in the inside areas like here see how it
appears light and that's because you're
assuming that an he's assuming that a
light source is bouncing back the light
that
coming directly is bouncing from
surrounding surfaces back to the arm and
that's what lights up these under areas
and that is very effective in creating
the illusion of volume when you're
drawing because it makes it seem as if
it's rounded it's like you're looking at
the other side of the arm here and this
is like an edge see the same thing here
and those are the main things that he
uses over and over again in this now
another thing is also I'll point out in
addition to this is that he doesn't see
even though the form is broken as a
whole I always advise it's always good
to still think of it in a simple sense
think of it in terms of simple forms and
I'm gonna try to sketch it out see if I
can fit it into this space here I'm just
thinking of it I'm not paying attention
to all the little details I'm just
trying to sketch out the overall size or
mass the larger masses see like right
here right here
see I'm using like the soon cylindrical
form that's where right here see the
rest okay and this is the hand the hand
would begin right here see I'm just
using simple shapes at this point okay
and then the finger goes off here and
even when you look at the finger sees
just basic forms that he's using see the
whole knuckle here the knuckle is pretty
much this form see if I could know he's
using just a simple shape to create that
form and the knuckle if you look at it
right here you can imagine that as just
a cylindrical form like this that has a
edge and edge like right here see that
and then this side is in shadow see so
that's what's going on here see it's
like that you know what I mean so that's
pretty much what he's doing so you know
if once you think of these as simple
forms they become a lot easier to draw
but if you get lost in all the details
and sophisticated forms and so on you'll
get really confused so just like I was
pointing out before actually started the
drawing just like I was pointing out
with how he broke up this longer form
into smaller forms this longer form into
two forms this longer form into two
forms see he's just breaking up that
one continuous form into multiple forms
and it gives it that complex you know
really intricate and dynamic feel to it
but it's really just based on simple
forms so like this is see I just broke
this up and now it looks like a like one
of those rolls or something
so you just render this as if it's a
three-dimensional form so in terms if I
were to do it like this I would do
something like this
that's the thing you know once you can
think of them as three individual forms
it becomes a lot simpler for you and
that's pretty much what I'm gonna try to
do here so you can see how I actually
will carve things out so here you see
how I started pretty simple now I'm
going to go in and start breaking things
up and then I like for example out I'll
make this one form and then I'll go in
and actually separate them and you'll
see how I'll do that
[Music]
yes pretty much the Sun is going to go
in and start doing the ink work
[Music]
[Music]
[Music]
so basically you know you see what I'm
doing I'm just basically just breaking
up the forms like this was just one
entire form and I'm breaking it up see
so this was at one point one form and
I'm just breaking it up just like I did
here see in the same sense as this is
just initially one form and I just broke
it up so it's like it's like this and
that's just basically the same thing I'm
doing in each of these areas so you're
kind of getting this you know and the
key thing of course is to make sure that
whenever you break up this form is that
you have to make sure that you make them
seem to align or merge smoothly okay and
you're pretty much just using these same
techniques you're using the the cross
hatching in various directions and also
you're trying to create a sense of
reflected light in areas to make it seem
as if it's it's it's rounded see so
because in these areas it's it's like
it's pointing down and this is pointing
up see these areas it's pointing down
and in this area where it's light it's
pointing upwards and once you can create
that that type of a distinction you know
that sense of realism will naturally
just just can be conveyed in your
drawing