The Secret to Drawing Overwhelming Detail!

Summary

Stephen Travis, conocido por sus meticulosos dibujos arquitectónicos, revela su técnica para capturar el efecto de los detalles en lugar de su exactitud. Expone cómo, a pesar de la complejidad de escenas como árboles o flores, logra representarlas de manera efectiva a través de tonos y líneas, enfocándose en la forma y sombras para crear profundidad y significado, más que en la detallada reproducción de cada objeto. Este enfoque no solo simplifica el proceso artístico sino que también permite a los espectadores apreciar la escena de manera más clara y sin ser abrumados por el detalle.

Takeaways

• 🎨 El detalle es la característica más comentada en los dibujos de Stephen Travis, y es también la parte que más disfruta al dibujar.
• 🖋️ Tras años de práctica, Stephen ha desarrollado técnicas para capturar el efecto del detalle en sus escenas arquitectónicas, a pesar de la complejidad inherente.
• 🌳 A pesar de incluir muchos detalles, Stephen simplifica elementos como los árboles, ya que es imposible representar con exactitud cada hoja o rama.
• 🏙️ En arquitectura, la perspectiva y la distancia hacen que algunos detalles se vuelvan demasiado pequeños para representar en escala de sketchbook.
• 🌺 Al dibujar un campo de flores, Stephen enfatiza la silueta y el efecto general antes de sumergirse en los detalles, lo que ayuda a evitar que la complejidad del dibujo sea abrumadora.
• 🔍 A menudo, los espectadores se sorprenden al acercarse al dibujo y darse cuenta de que los detalles no están realmente presentes, sino que simplemente parecen estarlo.
• ✏️ Stephen usa una técnica de dibujo que captura el efecto del detalle en lugar de su exactitud, lo que le permite manejar escenas complejas sin ser abrumado por la cantidad de detalles.
• 🏞️ Al dibujar, es importante enfocarse en los elementos que resaltan rápidamente y fácilmente para el ojo, permitiendo que el cerebro asocie significado de manera eficiente.
• 📏 Stephen utiliza el concepto de 'espacio negativo' para resaltar formas y sombras, en lugar de dibujar los objetos directamente, lo que ayuda a crear un efecto de profundidad y detalle.
• 🌟 Al dibujar patrones repetidos, lo importante es capturar la repetición y la simetría, más que los patrones individuales, lo que ayuda a mantener la coherencia visual en la obra.
• 🌿 Al dibujar naturaleza, como árboles o flores, es esencial capturar el efecto general de la luz y las formas, en lugar de intentar representar cada hoja o pétalo individualmente.

Q & A

¿Quién es Stephen Travis y qué le gusta hacer en sus dibujos?

Stephen Travis es un artista conocido por los detalles que incluye en sus escenas arquitectónicas. Le gusta dibujar los detalles y es lo que más comentarios recibe, lo que le agrada porque es su parte favorita del proceso de dibujo.

¿Cuál es la técnica que Stephen ha desarrollado para capturar el efecto de los detalles en sus dibujos?

Stephen ha desarrollado una técnica para capturar el efecto de los detalles en lugar de dibujar el detalle exacto. Utiliza tono y simplificación para representar escenas complejas sin abrumar al espectador con detalles imposibles de copiar con exactitud.

¿Por qué Stephen elige las escenas que dibuja según los detalles?

Stephen elige las escenas para dibujar según los detalles porque disfruta dibujarlos y son una característica distintiva de su trabajo que recibe muchos comentarios positivos.

¿Cómo maneja Stephen la complejidad de un paisaje lleno de árboles o flores?

Stephen maneja la complejidad de paisajes llenos de árboles o flores simplificando los detalles y enfocándose en el efecto general, utilizando tono y líneas para dar una sensación de profundidad y evitar que el detalle se vuelva abrumador.

¿Qué es lo que Stephen sugiere hacer para no abrumarse con la complejidad de un dibujo?

Stephen sugiere enfocarse en un par de elementos reales y dibujarlos con detalle, utilizando áreas oscuras como un camino visual para que el ojo siga a través del dibujo, y variando la densidad de los detalles para evitar que el dibujo se vuelva un caos de líneas.

¿Cómo utiliza Stephen el concepto de 'espacio negativo' en sus dibujos?

El 'espacio negativo' es un concepto que Stephen utiliza para dibujar las sombras y el espacio entre los objetos, en lugar de los objetos en sí. Esto ayuda a enfatizar las formas y a dar un sentido de profundidad a su dibujo.

¿Qué importancia tiene el tono en la técnica de dibujo de Stephen?

El tono es importante en la técnica de Stephen porque le permite enfatizar las formas y dar una sensación de profundidad a su dibujo de una manera mucho más rápida que si solo utilizara líneas.

¿Cómo aborda Stephen la perspectiva en sus dibujos de arquitectura?

Stephen asegura que los patrones y las formas en su dibujo se ajusten a la perspectiva correcta, reduciendo la cantidad de detalle a medida que se alejan, lo que ayuda a mantener la coherencia visual y la profundidad en su trabajo.

¿Qué consejo da Stephen sobre cómo manejar la simplificación de detalles en escenas complejas?

Stephen aconseja enfocarse en el efecto general de la escena y no en el detalle exacto, simplificando los detalles y variando la densidad y el tono para evitar que el dibujo se vuelva abrumador o se pierda en un tangle de líneas.

¿Por qué Stephen recomienda dibujar los detalles más cercanos con más cuidado y detalle?

Stephen recomienda dibujar los detalles más cercanos con más cuidado porque son los elementos que el ojo percibe con más claridad y detalle, lo que refleja la experiencia visual real.

¿Cómo Stephen aborda la representación de patrones repetidos en sus dibujos?

Stephen enfatiza la repetición del patrón más que el patrón en sí, y ajusta la cantidad de detalle según la perspectiva y la distancia, reduciendo el detalle en áreas más alejadas para mantener la coherencia visual.

Outlines

00:00

🎨 Detalle en el arte de Stephen Travis

Stephen Travis se enfoca en el detalle en sus dibujos arquitectónicos, lo cual es el rasgo más comentado por los espectadores. Él disfruta representar el detalle y ha desarrollado técnicas para capturar su efecto, aunque admite que no es posible incluir todo el detalle con exactitud. Utiliza tono para simplificar y muestra cómo su técnica ha evolucionado para dibujar no el detalle real, sino su efecto, especialmente en escenas complejas como la arquitectura de París o en el interior de un bosque.

05:02

🌼 Dibujar un enredo de flores de campo

Travis describe su enfoque para dibujar un enredo de flores, enfatizando la importancia de hacer que algunas flores sean fácilmente reconocibles y destacadas para que el espectador pueda entender rápidamente lo que está viendo. Utiliza sombras y contornos para dar forma y profundidad a la escena, y explica cómo maneja la complejidad al dibujar una tangle de flores, enfocándose en detalles específicos y utilizando áreas oscuras para guiar la visión a través del dibujo.

10:04

🖌️ Técnicas de dibujo para capturar el efecto del detalle

Stephen comparte técnicas específicas para dibujar el efecto de los detalles en lugar de su exactitud, como el uso de tono y la variación de la presión del lapiz para crear líneas más ligeras o oscuras. Explica la importancia de la silueta y el tamaño de los objetos en la creación de una escena con profundidad, y cómo reducir detalles a medida que se va hacia el fondo para mantener la perspectiva y la claridad en el dibujo.

15:07

🏛 Capturando la arquitectura con detalles efectivos

Travis habla sobre cómo aborda la representación de detalles arquitectónicos complejos, enfocándose en el efecto inmediato y no en los patrones específicos. Usa el concepto de espacio negativo para destacar formas y utiliza la repetición de patrones y la simetría para mantener la coherencia visual en su dibujo. Destaca la importancia de mantener la perspectiva y reducir detalles en áreas más alejadas para reflejar la profundidad y la escala.

20:08

🌳 Aplicación de principios de dibujo en escenas complejas

Stephen reflexiona sobre cómo los principios de dibujo del efecto en lugar de la exactitud del detalle se aplican a diferentes escenas y sujetos. Resalta la importancia de ser consciente de la profundidad y del plano en la simplificación de detalles, y cómo la percepción humana tiende a enfocarse en áreas específicas de un dibujo. Alentó a los espectadores a experimentar con estos principios en sus propios dibujos y a disfrutar del proceso creativo.

Keywords

💡Dibujo detallado

El 'Dibujo detallado' se refiere a la técnica de incluir muchos detalles en una obra de arte, lo cual es una de las características principales de las escenas arquitectónicas que Stephen Travis dibuja. Este término está en el núcleo del mensaje del video, ya que Travis se enfoca en cómo capturar el efecto de los detalles en lugar de los detalles exactos, como se ejemplifica en su técnica de dibujo de escenas complejas.

💡Técnica de dibujo

La 'Técnica de dibujo' es el método o enfoque que utiliza un artista para crear una obra. En el video, Travis comparte su técnica para capturar el 'efecto de los detalles' en escenas arquitectónicas y naturalezas, lo que implica una simplificación de los detalles para representar la escena de manera más efectiva, como cuando dibuja un árbol o una escena de flores de campo.

💡Arquitectura

La 'Arquitectura' es el arte y la ciencia de diseñar y construir edificios y estructuras. En el contexto del video, la arquitectura es el sujeto preferido de Travis, particularmente la de París, conocida por su riqueza en decoración. La complejidad y el detalle de la arquitectura son centrales para entender cómo Travis aborda el desafío de representar escenas detalladas en su dibujo.

💡Efecto de los detalles

El 'Efecto de los detalles' es la representación de la apariencia general de los detalles en una escena, más que la representación exacta de cada detalle. Travis resalta esta idea a lo largo del video, demostrando cómo puede crear una impresión de complejidad y realismo sin la necesidad de incluir cada pequeño detalle, como se ve en su dibujo de flores de campo.

💡Simplificación

La 'Simplificación' es el proceso de reducir la complejidad o la cantidad de detalles para hacer algo más fácil de entender o representar. Travis utiliza la simplificación en su técnica de dibujo para manejar escenas con un alto nivel de detalles, como en un árbol o una arquitectura detallada, y se menciona explícitamente en el video como parte de su enfoque.

💡Tonalidad

La 'Tonalidad' se refiere a la gradación de colores o sombras que se utiliza para dar profundidad y volumen en un dibujo. Travis menciona que el uso de tono proporciona atajos en el dibujo, permitiéndole enfocarse en el efecto general de la escena en lugar de los detalles individuales.

💡Perspectiva

La 'Perspectiva' es la representación en un dibujo o pintura de cómo los objetos cambian de tamaño y forma en relación a su distancia del espectador. El video destaca la importancia de la perspectiva en la técnica de dibujo de Travis, especialmente al representar patrones repetitivos y objetos en diferentes distancias.

💡Símbolo negativo

El 'Símbolo negativo', o espacio negativo, se refiere a la representación de un objeto a través del espacio que lo rodea en lugar de su forma directa. Travis utiliza este concepto en su dibujo para enfatizar las sombras y espacios entre los objetos, como en las estructuras arquitectónicas de París.

💡Dibujo gestual

El 'Dibujo gestual' es un tipo de dibujo que se enfoca en capturar la esencia y el movimiento de un sujeto en lugar de su apariencia detallada. Aunque no se menciona explícitamente en el video, la técnica de Travis para dibujar el 'efecto de los detalles' tiene elementos de dibujo gestual, especialmente al manejar escenas complejas y mantener el enfoque en la generalidad en lugar de los detalles precisos.

💡Flujo de líneas

El 'Flujo de líneas' se refiere a la dirección y la secuencia de las líneas en un dibujo que contribuyen a la sensación de movimiento o a la forma de un objeto. Travis resalta la importancia de capturar el flujo de líneas en los patrones y las formas arquitectónicas para representar el efecto de los detalles en su dibujo.

💡Simetría

La 'Simetría' es la cualidad de un objeto o forma de ser reflejado igual a sí mismo a través de un plano. En el video, Travis menciona la simetría como un aspecto importante al dibujar detalles arquitectónicos, ya que capturar la repetición y la simetría ayuda a transmitir el efecto de los detalles sin necesidad de detallar cada elemento individualmente.

Highlights

Stephen Travis is renowned for the detail in his architectural drawings, which is the most commented-on aspect of his work.

Travis enjoys capturing detail, and it's a significant reason why he chooses certain scenes to draw.

A technique developed by Travis over the years allows him to capture the effect of detail, rather than the exact detail itself.

In nature, such as trees, there is an overwhelming amount of detail that cannot be captured with complete accuracy.

Travis uses tone to provide shortcuts in representing detail, especially in complex scenes like architectural backgrounds.

His favorite subject, the ornate architecture of Paris, exemplifies the challenge of drawing richly decorated buildings.

Travis often receives comments about how his drawings appear detailed even when zoomed in, though the exact detail is not present.

He emphasizes drawing the effect of detail by using techniques that convey the impression of complexity.

Travis demonstrates his technique using a tangle of field flowers, a scene that can be overwhelming with line drawing.

He explains the importance of starting with clear, recognizable elements to make a complex scene understandable.

Travis discusses the use of silhouette and negative space to emphasize the shapes of individual blooms in a drawing.

He highlights the need to create visual pathways through a drawing to avoid an overwhelming tangle of lines.

Travis explains how varying line weight and speed can create different tones and effects in a drawing.

He emphasizes the importance of maintaining focus on the overall effect rather than getting lost in the details.

Travis provides principles for drawing effective detail, such as capturing the at-a-glance effect and using shadow to define form.

He discusses the significance of pattern repetition and how it can be more dominant than the actual pattern itself.

Travis explains how to draw symmetrical elements effectively by capturing the flow of lines and maintaining consistency.

He stresses the importance of perspective and reducing detail as elements move further away in a drawing.

Travis concludes by encouraging viewers to try his principle of drawing the effect of what they see, not the exactness of detail.

Transcripts

g'day I'm Stephen Travis if my drawings

are known for anything it's probably the

detail that I include in my

architectural scenes it's the one

characteristic of them that I get the

most comments about which always pleases

me because drawing the detail is the

part I enjoy most about the scenes that

I draw in fact it's usually why I choose

the scenes to draw that I draw and what

I've worked out is that part of the

reason for the way the drawings turn out

is the technique that I've developed

over a number of years to capture the

effect of the detail

because the truth is regardless of how

much detail I actually include in my

scenes there is simply way too much

detail to capture with any exactness

in something such as a tree there are

clearly simplifications that have to be

made although using tone does provide

some shortcuts but with architecture

stretching back into the distance photos

capture an amount of detail that it's

just impossible to copy with any

exactness

particularly when we have scenes that

stretch right into the background

there's an incredible amount of detail

that actually becomes impossibly too

small to draw on any Sketchbook scale

paper

and particularly if the architecture

that we're attracted to drawing is as

rich in decoration as the architecture

of Paris is which as you probably know

is my favorite subject but one comment

that I have also had frequently which

comes from those who I suppose enjoy the

drawing so much that they zoom in

closely to it I have a closer look to

see exactly how have I drawn all this

detail how have I captured really The

Impossible

and what they say I think to their

surprise but not mine is but when I zoom

in and look closely at the detail it's

not there it just looks like it's there

and as I've thought about my technique I

realized that what I'm doing is I'm

drawing the effect of the detail I'm not

drawing the actual detail and while I

started doing this with the rich

ornamentation of the Interior

architecture of Paris

I realized in fact that this was the

technique I'd been using for a long time

both painting and drawing trees whether

it was the leaves

all the branches

because trees present an impossible

amount of detail and it can quite easily

become overwhelming which I think is why

artists often find trees so difficult to

draw because it's just impossible to

draw an exactness of the detail

and this is where I think I began to

develop my technique of drawing the

effect of the detail not the exactness

of it so I want to look in some detail

with this technique and demonstrate how

I use it how I think when I'm drawing

and how I develop it on the paper but

rather than using architecture or a tree

because I have a number of videos on

drawing trees I have a video playlist on

drawing trees if you're interested

because both for drawing trees and for a

demonstration of this technique I think

they work quite well but for this video

we're going to look at another

impossibly complex scene and that's a

tangle of field flowers where we have a

massive blooms we have a massive stalks

and leaves and Buds and it's the sort of

scene that can easily overwhelm if we're

drawing with a line so how do I draw the

effect of this detail let me demo with

drawing this scene now the drawing takes

me 30 minutes to draw and I use a 0.3

millimeter pen for the whole drawing at

the end I'm just going to draw some

summary points using my drawing of this

as the focus and while I appreciate that

many people watching YouTube videos

don't make it to the end can I say this

is one video that if you don't want to

watch the whole drawing which will be

sped up and listen to the commentary at

least zip to the end and hear what I

have to say to bring all these points

together on how I

draw the effective detail rather than

the actual detail

but let's go back to our field flowers

and start drawing

so apologies I forgot to turn the camera

on when I started drawing but

fortunately I hadn't got very far but

you'll see that what I've started with

is drawing some of the closest blooms

and this is a really important principle

what we need to do is make it really

easy for people looking at a fairly

complex scene to know what's happening

to know what's going on to know what

they're looking at and so because this

is a scene of flowers and part of the

effect overall is that it's going to be

a tangle because we're trying to

represent a tangle of flowers

a full scene of Just Flowers we still

want it to be easy for people even

though there's going to be so many lines

to still be able to recognize straight

away what they're looking at and the

best way to do this is to make sure that

we have a few of the object in this case

flowers really easy to see and really

easy to make out what they are so that

means a reasonable size and without a

great deal of confusion around them now

in this case there are some parts of the

drawing some parts of the scene of the

the reference where there's darker

Shadows behind which actually come up as

black where there's no foliage or Leaf

directly behind some parts

and so they're in Shadow

and where they are behind a flower

then the silhouette of that flower is

brought into relief and that's a great

opportunity to use this to really

highlight the shape of some individual

blooms and while I get this thought from

my reference this is the sort of detail

that I'm quite happy to manipulate in my

actual drawing

to make sure that I have enough blooms

with enough Blackness around the edges

to really throw them into a nice

silhouette to make really clear at a

glance

that this is a scene about flowers

whatever's in this tangle there are

flowers here

the other thing that's important to help

establish what we're looking at when

it's very complex and it's a mess is or

not a mess but it's very complex a

tangle is the silhouette is the edges

and that's going to be in this drawing

case both the Silhouettes of actual

details of this which is the flowers the

petals but it's also in some cases the

stems

but also the silhouette of not

individual blooms but of the whole inner

way of the whole scene in a way and

we're going to do that at the end with

what we see at the very top the furthest

flowers that we see in this drawing so

that silhouette's going to be very

important too because what we're trying

to do is we're trying to give the eyes

of the Observer some details that stand

out really quickly and really easily

that the brain will also then find it

really easy to attach meaning to

and in that way the complexity of the

line work of the detail won't be

overwhelming

that's what I'm trying to do at this

point

now in practice

the challenge is for me not to get

overwhelmed with my tangle in some ways

drawing the individual blooms is easier

than drawing the tangle but with the

individual blooms it's really important

that I focus carefully on a few actual

blooms

and make an effort to draw them in

detail

that I don't just draw a cartoon Daisy

that I realize that some of these

flowers I'm looking at more face down

than side on and a few I'm even looking

at slightly from underneath it simply

depends how their stems are bending now

generally they're all looking about the

same because they are tracking the sun

which is in the same place but within

that there are different tilts and

variations of how they're facing the Sun

so it's important that I capture the

fact that

some petals I see almost straight on

because they're curving up from behind

and some petals I see almost Edge on

because they're coming at me from the

side almost Edge on

now you can see what I'm doing here in

that I'm establishing the flowers

and some stems and then I'm putting in

some buds these are Cosmos it's actually

not in a field it's in our front yard

I've planted a tangle of them to hide an

area where I need to do some Landscaping

but haven't had a chance yet so these

are just making a colorful alternative

to dirt and weeds

but I'm drawing the flowers and the buds

and some stalks

and then I have to put the tangle in

between now this this will be the

challenge now I am using these darker

shadowed areas as a way of providing if

you like a pathway for the eyes to

follow through the tangle now because

it's not an actual pathway but it's in a

way it's a visual pathway it provides

some areas of Separation so that the

whole thing isn't overwhelming

and then it also lets me just get a few

more edges

but in less detail as as I go further up

these shadowed areas I'm not filling

them in with as many lines so that

there's a little more white showing

through

which has a grayish effect rather than a

black effect and this is part of the

creation of a sense of depth because

darker tonal values come forward in a

scene and lighter tonal values sit back

so this is also trying to suggest that

these

parts now are further back than the

parts lowered down which are darker

which are blacker and the same thing

with the size obviously the flowers that

I draw but when I'm drawing up here now

in the top half of my flowers I'm trying

to draw with a lighter line I'm still

using my 0.3 millimeter pen

but I'm holding it lightly my lines are

lighter my actual shape work is more

gestural

and I'm trying to get a thinner line now

I often would switch to a lighter pen at

this point a 0.2 millimeter pin and then

possibly even a 0.1 millimeter pen for

the furthest Parts but for this demo I

wanted to show that we can still create

effect even if we just have the one pen

that one of the skills we want to

develop with our line work is to use a

pen with various degrees of heaviness of

of a strength of pressing on the paper

and not just that but it's also the

speed on the paper the ink flows while

the nib is on the paper so if the nib is

moving quickly across the paper it's

actually in contact with any one bit of

paper for less time and therefore we can

get a lighter line and a thinner line as

well

so I'm I'm getting kind of basically the

overall massive tangle of undergrowth

here done and now I'm working on this

silhouette edge up the top as I told you

about one of the difficult things about

doing something such as this where if

you're like it's a random spread of

forms is to try and keep it random and

to not end up filling every Gap equally

and losing the spaces in between it's so

easy to do that and in my experience if

I do this sort of thing and just start

thinking of other things while I'm doing

it invariably I'll finish and there'll

be no gaps left I've actually filled

them all in with something or I've

put too much tone equally

all over the paper so so it is important

to be still focused on what's the

overall effect a few times I stood back

a little bit or I stood up at least and

I looked down to just get a sense of

where this wandering line of Shadow was

going

what the overall impact was were there

any parts that were still too much of a

kind of a gray tangle of lines because

all of these lines that I'm drawing

in effect it's almost like I'm hatching

the entire scene

and so they have a tonal effect and so I

don't want them all to

um to create the same if you like mid

gray tonal value I still want some parts

to be lighter some parts to be really

dark and some parts to be in between so

this is also how we create a sense of

Distinction so we're not overwhelmed

with the tangle by creating tonal

variations in form

with our lines

and yet this is in effect even in life a

series of lines the stalks are lines the

leaves in this case are really very uh

needle-like lines and the petals are the

closest thing we get to something that's

not a line and so it's it's all very

jagged

so here we have our tangle of flowers

trying to draw the effect

rather than the actual detail but I just

want to outline a few principles of

drawing the effective detail rather than

the exact detail and to use an

architectural scene

which does offer some possibilities of

examples that our flowers don't when I

first look at a complex reference my

first thought as I plan how I'm going to

represent some details some decoration

is what is the effect what's the at a

glance

effect of what I see not what is the

shape not what is the pattern

but it's an at a glance what are the

things that stand out and how do they

stand out why do they stand out and the

answer is often they stand out through

Shadow rather than through the actual

form in palagana where this scene is in

Paris we have these supports for this

overhanging balcony and it's the Shadows

that the supports cast which is the

primary thing about them it's the thing

we actually notice that's the way I draw

them primarily is through the shadows

and this is called negative space where

we don't draw things by the if you like

the outside form but in effect we draw

the space between things and when we

have something such as this or such as

this pattern here where we have a

detailed repetitive pattern in my

experience is the fact that the pattern

is repeated is more dominant than the

actual pattern and when we have a

pattern such as this which actually has

a fairly extra extreme perspective

impact in it the shapes of these circles

change as they move down one side and

down the other and the shape of these

swirling swags is also affected it's

capturing the fact that there is a

pattern that's a circular base pattern

with some sort of swirly thing

connecting each of the rounded patterns

is the important thing and making sure

that the pattern that I draw fits the

perspective that's more important than

the actual pattern and the other thing

is to draw whatever pattern I draw to

represent the more detail pattern is to

have it in more detail closer than

further away if that pattern is in fact

repeated and this pattern here on the

underside of this Arch is the same

pattern that we find here and the same

pattern that we find here and the same

pattern that we find up there

and can I say up here

the pattern this pattern has been

reduced to this and so it certainly is

drawing the effect of the detail not the

actual detail and yet because the eye is

seen this it carries this the Mind

carries this here and here and here and

we see a detail up here that I haven't

actually drawn another thing that I

think is important if we want to capture

the effective detail is where things are

symmetrical capturing the Symmetry is

more important again than the actual

decoration capturing the flow of lines

of a curving curling pattern is more

important than the actual pattern and so

here along the back here we have these

rounded Medallion type shapes and

there's all sorts of ornate swirly

scrolly acanthasy

and even I think cherubs

um on each side and they're all

symmetrical and the important thing is I

capture in some way that what's

happening is repeated and it's

symmetrical

and so when I'm doing this I will tend

to do all of them across one after the

other so that my line work is in the

same Groove

that the older I do the things and the

the swirls the lines the arm movements I

use are the same because I want them all

as much as possible to look the same

and now when we have this section come

up here firstly the important thing is

to keep the perspective correct so I'm

looking straight on here but this wall

is angled away so it's foreshortened

significantly and it increases in size

as it moves closer to us and these

circles become ellipses

but this ellipse is rounder than this

ellipse and the amount of detail I can

show here is actually a lot more than I

can show there or there or there or

there and so what I need to do is

whatever detail I show here I reduce it

as I move further away which of course

saves a lot of time but also I'm just

actually not going to have the space

here to put the detail that I've put

here as reduced as that detail is a good

thing about using tone is that I can use

tonal value to emphasize form in a way

that is much faster than if I were just

using line another important technique

is to draw the closest detail as

carefully as I can for the time I want

to draw and in as much detail as

possible so you'll see that the tops of

these columns and the in tablature

supporting the arch is actually in a

fair bit of detail and is in a high for

one of my drawings a high state of

accuracy because even though we're

actually looking straight through even

though our eyes go firstly to the center

and to the brightest lightest areas

which is here on the far side of the

stairway and this in effect becomes a

fancy frame for the view in life these

are the parts we're still going to see

most clearly in most detail if we

actually look at these rather than in

the center and so we want them to

reflect that fact as well even so though

there is simplification here and here

with what's actually happening in real

life but being aware of depth of plane

is also an important factor when we're

simplifying detail and drawing detail to

capture the effect rather than the

exactness because the camera captures an

alarming amount of detail but in life

when we look at a complex scene where

still only seen a certain part at once

we don't see the whole thing at once and

usually the thing we're looking at is in

the most detail because it's usually the

closest thing that's not the case in

this drawing but the principles are the

same the exact way the principle draw

the effect of what I see not the detail

not the exactness of what I see how that

works out in practice does depend on

every single scene on what the subject

is and what the lighting is of how large

I'm drawing it what the scale is what

size pen I'm using how much time I have

how gestural overall it's going to be

and so forth but if I know some of these

principles some of these if you like

technique so how I can draw the effect

and I always end up coming back to the

tree and the leaves I can't possibly

draw all the leaves so I need to draw

the overall effect of the light on the

trees the in effect surface that's

created by all these individual objects

if I know some principles as to how I

can do that then I can seek to apply

them to whatever particular example I

have in front of me g'day I'm Stephen

Travis if you've made it till now I hope

you feel it was worth it and I hope you

give this principle of drawing the

effect of what we see not an exactness

of the detail a go in a drawing soon and

if you haven't subscribed to my channel

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not tell some friends who draw about my

channel but look whatever you do and

whatever you end up drawing and however

you end up drawing it make sure you have

fun I'll see you next time bye