Monday, September 19, 2011

The Ryder Studio – Day 10

Ryder Demo Day 10 - Hair smCopyright 2011, Anthony Ryder

Day 10

The Ryder Studio

Santa Fe, New Mexico

The last day of my experience at The Ryder Studio…an awesome time of learning.  I was saddened to see it come to an end.  I am looking forward to returning again in the near future!

We learned about drawing hair on the 10th day.  The hair is sometimes darker than skin tone and sometimes lighter.

Hair is just another form.

The border of the hair on the head is very important to get.

Don’t draw the block-in as a generic form.  Draw it as an appearance of what the person looks like.

Look for the hair shape during the block-in.

Continue the scalp with an imaginary line through the hair to  help create the form shape.

To some degree, the hair clings to the head, like a cap.

Hair naturally groups into locks.

When things overlap, use a T-intersection.  Same goes for the hair.

We all know what it feels like to put your hair behind the ear.  Make that feeling happen.

The locks of hair are sort of glued together, in a sense.

After the shape block-in of the hair, then add the placement of the locks, each with a certain convexity.

For short hair or hair challenged people, draw forests of hair with meadows in-between.  Crew cuts, etc.

Hair is glossy and shiny – as it arks up and turns, it reflects a highlight.  As it turns back down it starts to darken again.

The highlight cuts across the shape of hair in a different way than it does on the face.

Shapes of shading are shaped like tornadoes.

After the block-in and shape placements, then add tonal washes.

The highlights in the hair follow the shape of the light on the forehead.

The terminator of the jaw-line follows into the hair.

When hair falls into the shadow, you have a less-see zone.

Remember not to over-define areas in the shadows, draw only what you see as accurately as you can.

Hair casts shadows on the face.

As hair is not solid, the cast shadows are not solid.  They sometimes are fuzzy.  ie:  dappled sunlight on the sidewalk from a tree at sunset.

Draw hair in a scruffy fashion instead of smooth and silky.  If you are having a bad drawing day, draw some hair.

Hair falls vertically at a faster rate than hair falls horizontally.

Hair has a certain spring to it.

When the curl sits on a shape it curves differently.

Leave the highlights the white of the paper.

Think of mixing eggs for scrambling when applying the pencil to the paper.

Value is an aspect of color.  You can give a sense of color about how dark the values become.

When class was finished for the day, this is what I came up with.  I drew “Souzy” for 4 afternoons.  She isn’t complete at this stage, but she has a good start.

Valerie's Work Day 10 smCopyright 2011, Valerie Jones

Monday, September 12, 2011

The Ryder Studio – Day 9

Ryder Demo Day 9 - Ear sm

Copyright 2011, Anthony Ryder

Day 9

The Ryder Studio

Santa Fe, New Mexico

We learned all about ears on the next to the last day at The Ryder Studio. 

There is kind of an updraft from the neck out to the ear shape.

The ear is around the horizon, around the side of the face.

Keep in mind that the hair tucks behind the ear.

Where the hair originates from the scalp, it is like it is just born, with little color to it.

Although the ear sticks out, it is rooted to the head.

The rim of the ear is wide to narrow with little kinks in it.  It is not smooth!  Think of it as having mosquito bites.


Ryder Demo Day 9 Ear Detail smCopyright 2011, Anthony Ryder


The central part of the ear form pushes out.

Pay attention to the tilt of the ear.

While working in the shadows, lightly block in the shadow shapes and gradually work up to the darkest dark.


Ryder Demo Day 9 Ears smCopyright 2011, Anthony Ryder


Remember that drawing tells a story.

And…You get endorphins from foreshortening!

Monday, September 5, 2011

The Ryder Studio – Day 8

Ryder Demo Day 8 Lips Closeup smCopyright 2011, Anthony Ryder

Day 8

The Ryder Studio

Santa Fe, New Mexico

We started Day 8 at The Ryder Studio talking about lips. I learned a lot about how not to fence things in that day.

Anthony Ryder started his demonstration with saying that lips are around the face, from under the nose to the top of the chin, earlobe to earlobe.

When you bring the edge of the mouth up toward the nose, it doesn’t make a corner edge. It tucks up under the lip.

Think of the upper lip like a very round rowboat. If looking up the bottom lip will curve downward instead of upward.

I learned that the terminator lives in the form shadows.

The bottom lip has lobes, like a peanut.

Ryder Demo Day 8 Lip smCopyright 2011, Anthony Ryder

The rim of the lips are not a shape! There is a roundness to it, with little breaks here and there.

Lips are like a string purse.

The lower lip is shaped almost as if you are sticking your tongue out. The diffusion on the bottom lip is not always pronounced on certain people.

Every convex form on the body has a certain degree of roundness.

The forms of the body are non-separate and integrated in the forms around them.

The mouth shape goes into the cheek, helping form the cheekbone area.

With shading, we tend to put the big shapes in and forget to put the smaller interwoven lines of shading on the form.