How to Draw Pencil Portrait Tutorial with Artist Dryden Goodwin | Hospital Rooms Digital Art School
Summary
TLDRArtist Dryden Goodwin invites viewers to join him in a digital art school session where he explores the art of drawing people. He discusses the process of capturing a person's likeness with pencil and paper, emphasizing the importance of light, conversation, and the connection formed between artist and subject. Goodwin shares insights on the challenges and privileges of drawing 'on the fly' and how drawing can be both an intimate and abstract experience, reflecting on the dynamic between the subject's physical presence and the artist's interpretation.
Takeaways
- 🎨 The artist, Dryden Goodwin, is leading a digital art school session focused on drawing people, encouraging participants to use pencil and paper to capture the essence of a person.
- 🤝 Goodwin often engages in conversation with his subjects while drawing, creating a connection that enhances the drawing experience, but this session is unique as it involves discussing the drawing process itself.
- 🌟 He emphasizes the importance of light in creating drama and highlighting features in a portrait, suggesting that the choice of light source and direction can significantly impact the artwork.
- 👀 Goodwin typically starts a drawing with the eyes, as they are often the first point of connection when looking at someone, and then moves on to other facial features.
- 🔍 The artist discusses the challenge of capturing the abstract and unseen parts of the head, such as the back of it, and how this requires an imaginative and spatial understanding.
- 🏞️ Goodwin appreciates the contrast between positive and negative space in a drawing, noting how the environment behind the subject can define the shape of the head.
- 🤔 He finds the process of drawing both subjective and objective, oscillating between capturing personal presence and focusing on shapes and forms.
- 📝 Goodwin suggests that drawing from life can be both intimate and distancing, depending on the relationship with the subject, and that each drawing is a unique attempt to render the person in space.
- ✏️ The choice of pencil hardness can affect the drawing experience, with softer pencils providing more 'torque' against the paper, and harder pencils offering a different interaction.
- 🕒 Drawing duration can vary from quick sketches to more sustained and layered studies, each capturing a different aspect of the encounter with the subject.
- 🖼️ Goodwin references historical artists like Rembrandt and Giacometti to illustrate different approaches to drawing and the impact of time on the artwork.
Q & A
Who is the speaker in the video script and what is their name?
-The speaker in the video script is an artist named Dryden Goodwin.
What activity is Dryden Goodwin inviting the audience to participate in?
-Dryden Goodwin is inviting the audience to participate in drawing, specifically drawing a person.
What materials does Dryden suggest for the drawing activity?
-Dryden suggests using a piece of paper, a pencil, and an eraser for the drawing activity.
What is the significance of capturing people through drawing, photography, and sound recording according to Dryden?
-According to Dryden, capturing people through these mediums allows for a deeper understanding and connection with the subject, as well as the experience of the encounter.
How does Dryden describe his usual drawing environment?
-Dryden describes his usual drawing environment as being on the move, often in different cities or countries, drawing people in their own environments such as homes or workplaces.
What is the role of light in Dryden's drawing process?
-Light plays a crucial role in Dryden's drawing process as it creates drama across the face, highlighting features and shaping the form of the subject in space.
What does Dryden find intriguing about the experience of drawing someone?
-Dryden finds the experience of drawing someone intriguing due to the challenge, the privilege of sitting and drawing someone, and the connection that can be made through the process.
How does Dryden approach the process of drawing a face?
-Dryden approaches the process of drawing a face by starting with certain features, such as the eyes, and then navigating to the rest of the face, looking for shapes and forms that define the subject's presence in space.
What does Dryden suggest about the relationship between the subject and the artist during the drawing process?
-Dryden suggests that there is a sense of exchange and connection between the subject and the artist during the drawing process, which can lead to discoveries about both parties.
How does Dryden differentiate between drawing from life and drawing from photographs?
-Dryden differentiates between the two by stating that drawing from life offers a direct engagement and conversation with the subject, while drawing from photographs allows for a sense of intimacy to be built up through focused observation.
What does Dryden consider when choosing a pencil for drawing?
-Dryden considers the hardness of the pencil and its torque against the page, as well as the quality of the paper, as these factors affect the drawing's line quality and the artist's interaction with the surface.
What is the impact of changing light conditions on Dryden's drawing process?
-Changing light conditions impact Dryden's drawing process by requiring him to constantly review and re-question the form and tonality of the subject's face in space.
How does Dryden perceive the difference between drawing strangers versus people he already knows?
-Dryden perceives that drawing a stranger can lead to a deep familiarity, while drawing someone known well can sometimes result in a distancing experience, as the perception of the person changes through the drawing process.
What insights does Dryden provide on the duration and stopping point of a drawing?
-Dryden provides insights that the duration of a drawing can vary greatly, from quick studies to sustained looking over time. The stopping point is often determined by the artist's sense of when the drawing has captured the desired essence of the encounter.
Outlines
🎨 The Art of Drawing People
Dryden Goodwin introduces a digital art school session where he will make a drawing and invites viewers to join him. He discusses his interest in capturing people through various mediums and the challenge of drawing someone while in conversation. He emphasizes the connection and experience of drawing someone on the fly, in different environments, and the importance of light in creating drama and highlighting features.
👀 The Intimate Process of Drawing
Goodwin delves into the experience of drawing someone, discussing the initial awkwardness of intense observation and the power of engaging with another person's presence. He talks about the balance between subjective and objective perspectives, the process of identifying shapes and features, and the abstract nature of translating what is seen onto paper. He also mentions the influence of artists like Rembrandt and Giacometti on his approach to capturing form and space.
🌟 The Dynamics of Live vs. Photographic Drawing
The artist explores the differences between drawing live subjects and from photographs, highlighting the unique challenges and opportunities each presents. He discusses the intimacy possible through photographs and the value of engaging with people from different life experiences. Goodwin also touches on the importance of the subject's presentation and the artist's choices in rendering the subject's likeness.
✏️ The Nuances of Drawing Tools and Techniques
Goodwin considers the impact of different pencils and paper qualities on the drawing process, discussing how these elements affect the interaction between the artist and the medium. He talks about the importance of observing changes in light and form, and the strategic use of positive and negative shapes in defining the subject's features. He encourages viewers to consider a checklist of questions to guide their drawing process, emphasizing the iterative nature of reviewing and adjusting the work.
⏳ The Duration and Decisions in Drawing
In the final paragraph, Goodwin reflects on the duration of drawing sessions and the decisions artists make regarding when to stop. He contrasts quick, immediate studies with longer, more sustained efforts to capture a subject. He uses examples from Rembrandt and Giacometti to illustrate different approaches to drawing and the unique experiences they record. Goodwin concludes by expressing his pleasure in the drawing session and encourages viewers to continue their own artistic explorations.
Mindmap
Keywords
💡Drawing
💡Lighting
💡Connection
💡Subject
💡Conversation
💡Pencil
💡Abstract
💡Shape
💡Negative Space
💡Live Drawing
Highlights
Dryden Goodwin introduces the concept of a digital art school in a hospital room, emphasizing the importance of drawing people as a means to connect and capture their essence.
The artist discusses the challenge and privilege of drawing people in various environments, such as homes or workplaces, and the uncontrollable nature of natural light in these settings.
Goodwin shares his interest in using drawing, photography, video, and sound recording to capture a person, highlighting the multisensory approach to art.
The idea of making quick sketches or more sustained drawings is presented, showcasing the range of time investment in art.
The artist describes his experience of drawing on the move in different cities, emphasizing the dynamic and spontaneous nature of his work.
Goodwin talks about the focus required when drawing someone and how it enables the artist to hold onto the experience of the encounter.
He introduces the concept of not being overly prescriptive in the drawing process, encouraging freedom and exploration of ideas.
The artist discusses the importance of light in creating drama and highlighting features in a portrait, referencing Rembrandt's etchings of his wife Saskia.
Goodwin describes the abstract process of drawing, oscillating between subjective and objective perspectives to capture the essence of the subject.
The artist mentions the intriguing aspect of drawing someone you've just met, and the unique experience of intense observation and study.
The transcript explores the idea of drawing from photographs as a portal into a person's life, offering a different kind of intimacy.
Goodwin reflects on the differences between drawing live and from photographs, and the unique insights each method provides.
The artist discusses the importance of considering the negative space in a drawing and how it defines the shape of the head.
Goodwin talks about the speculative nature of drawing and the freedom it offers in attempting to render someone in space.
The artist considers the experience of being drawn and how it can be both intimate and revealing of the subject's life and experiences.
Goodwin shares his thoughts on the value of engaging with different life experiences through the act of drawing.
The transcript delves into the artist's preference for different pencils and the impact of their hardness on the drawing process.
The artist discusses the importance of considering the duration of a drawing and how it can affect the final outcome and the recorded experience.
Goodwin concludes by reflecting on the pleasure of drawing and the unique insights gained from the encounter with the subject, Nike.
Transcripts
so
it's a great pleasure to be taking part
in a hospital room's digital art school
my name is dryden goodwin
and um i'm sitting here with nikkei um
and i'm going to be um
making a drawing and i'm inviting you
uh to do the same i've kind of
provisionally called
today uh draw someone
a kind of invitation to sit down with a
piece of paper
a pencil and an eraser and and to
sit and draw someone and it's something
that i do a lot in my own work i'm
really kind of interested in
how you capture people how you might use
drawing but also photography and
video and also recording sound um
to to capture someone and that might be
a i might make a lightning sketch very
quick sketch or
a more sustained drawing but i'm
cleverly intrigued by the challenge
and the the intrigue and also the
privilege of sitting
and drawing someone um often i'm
i'm in conversation with people as i
draw but very rarely am i
in in a studio context so this is quite
a new experience for me i'm i'm
moving around the city maybe in london
maybe in a project another country
but um kind of drawing on the fly
and on the move um
and i think there's something about
making a drawing the sort of sense that
when you're among
people it can be it can be overwhelming
but
there's something about the focus of
sitting with someone
and to create a connection
and somehow the drawing enables you to
hold
hold that experience so i don't want to
be prescriptive
overly prescriptive with what i'm
proposing but i want to sort of throw
out some notions and ideas as i draw
and hopefully some of those are things
you might latch on to as you're making
your drawing and you might be drawing
from someone in front of you you might
be drawing um
maybe from a photograph or you might be
drawing from a picture in a magazine
but so i'm very interested in you know
the potential connection that can be
made there
so um
so let's begin so um yeah
uh nikki so um
that's great where you're sitting and
i'll um i'll just i'll just begin the
drawing now let's
it's interesting this experience of
drawing and often i'm kind of talking
with with people as i draw but the idea
of
talking about the process of drawing as
you're drawing is a kind of a new
new kind of experience so uh i'm uh
this feels very kind of i like the
experimental aspects of that kind of
reflecting on the process as you're
as you're making it it's probably quite
counter-intuitive
yeah in you know in a way yeah it's
interesting because you're kind of i
suppose you've got these
different processes going through your
head and and kind of a key thing is
a kind of interesting starting point i
think is to think about is to think
about the light
and uh you know often in circumstances
you're in you
you you can't really control that you're
kind of um you know i'm drawing people
where i'm going into their
environments whether that's home or work
and drawing them and
that can't be controlled but what's kind
of interesting is that if you've got an
opportunity to sit with someone
or um you could you could decide to sit
next to a window as
as as you're doing or you might sit with
light that's
directly on you on the on the subject
you know it might be artificial light
and directional light and all those kind
of decisions are kind of really
interesting because
light creates a kind of drama across the
across the face and sort of
draws out features you know
and so there's something really kind of
uh exciting about kind of thinking about
um about those possibilities
there's a lovely drawing by
uh well it's an etching by rembrandt
um these studies that he's made of
saskia his his wife um these are from
um 18 sorry 16
16 37 and uh
what's just sort of really really
wonderful how the kind of light kind of
shapes the face and the kind of drama
and here where
she's sort of sitting half away from the
lights of the shadow and the kind of
using the cross hatching to build that
sense of form sitting sitting in space
and here's beautiful kind of where the
hand
comes across and this shadow that's
played on the forms of the space between
the hand and the
and the face
but it's uh i think kind of really um
sort of fascinating this sense of
sitting
sitting with someone and and drawing
them and that you're kind of
kind of you know there's a you know you
know we haven't met before
and you're sitting here you're drawing
and i'm
and you're okay i'm looking peering at
you intensely and
kind of starting to study your face and
so there's something really fascinating
about
that experience isn't there of um
uh encountering another human being and
uh there's something very um powerful i
think
within that and that you know that you
you know as we're talking you know we
exchanged conversation i'm asking you
questions you're asking me questions
um but as i'm drawing as well i'm kind
of
collating other other sorts of knowledge
too a kind of a sense of your presence
within space and
um and that sort of sense of exchange
but then at the same time there's
something very kind of abstract about
the kind of process that i'm going
through and
that i'm sort of oscillating between
something very subjective but also very
objective and um you know starting to
look for certain shapes
within within your face and i'm
seem to be kind of starting i seem to
start with the eyes i suppose
often i can see that with drawings that
i've i've documented
i suppose that sort of relates to to
looking um
but then i'm starting to kind of from
there and then navigate to the rest of
your
face where i'm sort of seeing certain
certain shapes maybe
that aren't the features themselves but
kind of across your eyes and across
the brow of your nose and your and then
your hair
giacometti said something really
interesting about the kind of the space
between the nose and the eye and somehow
it's like a desert and how you kind of
can map your way across that using using
drawing there's something very um
you know there's not there's not things
you can name but there's there's this
there's a plane that sits in in space of
your face and it falls away in space and
how you can
how you can document that so it's
interesting this kind of
oscillation between the kind of
subjective and the objective and
sometimes i kind of feel like a bit
uh a bit like a kind of a bit
dysfunctional 3d scanner where i'm kind
of
thinking you know trying to work again
and again
reviewing and drawing as i go along um
and trying to trying to map in space
but also this sort of sense of the
imagination that as you're drawing you
know a kind of a sense of what you're
seeing but also the sense of the
the head which is which is out of sight
which is unseen and how and how you can
kind of
plot that you know through maybe through
this kind of area which is your
your hair but um
how we can kind of draw that out
what's interesting too how you use the
sort of positive shapes that you might
you know you might be drawing the uh
the forehead but um and the hair but
then when we look
behind you there's this kind of piece of
architecture and that creates a negative
space behind you
and how how the head
is defined by both the posit it's
positive shape but also the negative
space and how they kind of bolt together
and
how you draw them together and that
helps you
define its shape
do you find it intimidating starting a
new drawing
um
i don't know i don't i mean it's kind of
interesting that sort of sense of
the this the sort of speculative nature
of drawing that you're
if you're making a drawing it's just
it's an attempt to kind of
of someone of trying to render them in
space but of course
the number of times that you do them the
number of drawings that you do they'll
always be different and so
each and i think that sense of um that
sense of freedom
and um you know sort of taking taking a
risk and trying to
draw someone in in space i think the
thing that's great to kind of fuel you
as you start to make a drawing
now it's interesting what you're saying
about um
um they're being drawn and and they're
kind of
you know the experience of being drawn
or drawing someone and
i mean what excites me is that you're
kind of
you're drawing someone's physical
likeness but you're also kind of
engaging
with um someone who could have had a
very
different life experience to you and you
know with a
very different outlook on on the world a
very different point in their life and
uh there's something kind of there's
something about
there seems to be value in that of kind
of looking and engaging
with people and um and what can be
discovered
you know also about about who you're
looking at but also about
yourself as you're making the drawing
so do you find it easier to do live
drawings than
drawings from photographs i i work in
different ways i mean i i make a lot of
work in front of it's great the lights
lovely coming in
um i make a lot of work and directly in
front of people and and you know
um
in difference in different situ in
different situations
sometimes engaging directly in
conversation sometimes drawing them as
they're engrossed in something
that they're working or they're making
something and i draw them but
also kind of interested in you know how
if you draw from a photograph
it's still a kind of portal into that
person's person's life and
um that kind of sense of intimacy that's
that's that's possible that that's
that's built up from that focused time
and of course you've got a different
sorts of information there but
somehow you're remote from them
but through the photograph there's a
kind of um
a sense of intimacy that can be built up
so i think they're different i think
they're i'm intrigued because i've
worked a lot sometimes i've
scratched directly into photographs with
drawing or i've worked from drawings
um or i've worked from drawings where
people are kind of really small and made
tiny drawings as a way to kind of
draw into their their world but um
so i like those differences between
drawing in different ways
it's great how with the with the cloud
cover we got the light is changing
a lot this is kind of interesting that
you're kind of looking directly
into my eyes i mean there's a pretty
beautiful drawing by um claudette
johnson
this is a drawing of a a friend and a
friend who's also an
artist and she's made lots of drawings
of
of her but what what's kind of really
intriguing is this
kind of focus on on the face um and how
that sort of in
in monochrome and how the colors
introduce but it creates this focus
and that she's kind of looking she's
looking away
um from the camera she's sort of her
eyes are
kind of pointing down you know and we
don't know if she's asleep or she's
kind of resting or her eyes are shut
there's something about
a sense of of that kind of holds
something back there's a kind of
quietness to that drawing which i think
is really kind of beautiful are those
decisions about
um how you might draw someone but also
how someone chooses to present
themselves to you i think is really kind
of interesting and
both in in the making but also within
the viewing of a drawing of someone
since things i draw here that's there
there seems to be
it seems to be too kind of heavy the
lower part of your face and it's going
to kind of strip that
strip that back
in the drawing
do you find it easier to draw strangers
or people you already
know yeah that's really that's really
interesting i think
what's quite interesting is that um by
drawing a stranger somehow you can
become incredibly familiar with them
but then by drawing a someone that you
know very well that can be quite
a distancing experience too you know
you're kind of you're
and so your sense of someone through the
experience of drawing i think
changes changes and uh
there's there's a great kind of pleasure
and an intrigue in that i think
it's interesting with like different
choices of pencil because
there's a there's a you know with very
soft pencils there's a very different
torque between the pencil
and the and the and the page
uh and also the quality of paper and i
think that that you know this idea that
you're kind of pressing into the surface
of the
of the paper but you're also kind of
projecting across space you know like
you're over there
and somehow i'm drawing you here but
somehow there's a kind of
contact between you you and i these kind
of lines that are being kind of sent out
but the choice of pencil if you choose a
very hard pencil of course
that gives you a very different sense of
torque from the surface so that's maybe
something to
kind of interesting to think about when
when choosing a pencil and you might
make a drawing where you just use the
same pencil
wear to pencil or you might make a
drawing where you
um you know you combine lots of
different pencils
sometimes you kind of it's kind of
helpful if someone's
you know if you're you're still and
you're still draw you're still drawing
and you're still but sometimes it's kind
of interesting when
uh when you're you're moving or or
they're moving
um because somehow you sort of it kind
of makes you look again and
and also with the changing of the light
it's kind of interesting because the
light's just
very active here uh and keeps on
changing but that kind of
is useful because you're kind of you
have a sense of
of your the form of your face in space
and that the changing light make helps
you review that and uh
re-question that
i think it's kind of you know it's kind
of interesting that
you could be thinking about you know
internal shapes of the space you know
the shape of your
your forehead the shape of your eye
socket and how that
interrelates to interrelates to your
hair but
um or your different tonal space you
know where's the lightest area where's
the darkest area and how that
interrelates and
and as i'm drawing i can i find myself
doing that really kind of quickly and
the frequency of that change really
quickly but maybe if you're
you're not so used to drawing you might
kind of think of a kind of checklist of
things that you
you might want to certain questions you
might want to ask yourself you know
sort of saying you know where what are
the kind of primary shapes
and the proportion of those primary
shapes within within
within the face itself or um
you know where are the the lightest
parts of the
of the of the tone you know is that the
forehead or is that the
the side of the face you know and you're
going through this sort of checklist
um or you know what about the negative
shapes how the kind of the
the hair makes con how that relates to
the
face the shapes within the face itself
and that you're constantly asking
those questions as you're going through
so it's almost like it might be like a
kind of game
a game you're playing where you you keep
on
having these questions come up as you as
you make the drawing
great i'm going to leave it there i
could keep going for the the rest of the
day but
he might pass out uh
but um now it's kind of interesting to
think about about duration of drawings
you know
when you stop or when you how you
negotiate that and uh
i i mean going back to rembrandt
and um this is a this is a beautiful
silver point again of saskia his wife
uh this one a few years earlier 1633
um but there's something so kind of
fantastic and direct about
the kind of the the way that lines have
been used more intensely on the face but
this kind of very kind of
provisional way that the dress has been
sort of penciled in and the way that our
hand has been made and how the light has
been
put in so something kind of very kind of
quick and immediate
and you know maybe many maybe many of
these studies could be done in quite a
short amount of time
or if you look at something like this
which is a
study that um i i took from my son's
wall this morning
but this giacometti it's a painting but
there's something kind of very kind of
drawing about the sensibility and how he
uses paint but here he's sitting in
front of
someone and drawing them over time and
making mark on top of mark on top of
mark and
this sort of sustained looking and this
sort of accumulation of attempts to
find a way of rendering someone's head
and figure within space
that that might take a much longer time
to do because i think these are really
interesting things to think about when
you're making studies of people and um
how that defines and records the
experience of the encounter in in
in different ways uh but um it's been a
pleasure
to to to draw you nike thank you very
much and also to draw in front of you
and hopefully you're
you're making some some fantastic
drawings too which i'm sure you're doing
you
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