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Lesson four is line with tone.

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And the tool that we're going to use to draw with today is a brush.

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And as a result, it will be a wet drawing

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rather than a dry drawing that you would produce with a pencil.

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Wet drawings are interesting because they get us nearer to painting.

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I don't want to talk today about the difference between painting and

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drawing, but this is a drawing that gets us on the way to painting.

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Now, what are you doing when you draw with tone?

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Basically, you're translating the lights and

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darks you see in nature onto a piece of paper.

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If you look at my hand, this side is lighter than this side.

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And that is what allows us to see the hand as a three dimensional thing.

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If I hold it up like that, it's light on one side, dark on the other.

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And it is those differences in tonal value that allow us to describe things on paper.

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Now, if we move to the drawing you'll see the left-hand side of the man's face

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is in light, and the right in dark.

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That is what makes it look real and convincing.

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If we look at his leg, his thigh, on the right-hand side, is in bright light.

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Drop-down to his feet, and you see the shadow that he casts.

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So in the drawing, we know that the light is shining from left to right.

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Now, very interesting thing about controlling tone with a brush is how

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you can either do it by the darkness of the ink that you use.

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So you could use a dark ink, as Romney has used on the right-hand arm of the figure.

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Or you could use a much lighter ink

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as it appears to be on the lef- hand side of hide of the figure.

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Now, another way of varying it,

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if you look at the wiggly line that's kinda going through his legs at

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the bottom of the drawing is by how much ink you have on the brush.

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You can see a lighter line.

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Now, as it gets lighter running along the top of that squiggly line,

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you will see that there is

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what's called a dry brush moving across the paper just leaving a light touch.

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So this is a much more complicated drawing to work with.

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If you want to make it simple, you could take a photograph, you could trace it.

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You could make a simple pencil drawing onto a piece of paper and

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then work energetically over it with a brush.

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Now, the reason I say energetically is because the point of using a wet

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substance to work with in a flexible ended brush is that it

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transfers the energy of your body into the image on the paper.

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It isn't a dry graphic process like you're carefully working around

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the edge of a leaf with a very pointed instrument.

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You're working with something that flows and is rhythmic.

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And of course, an important thing and

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important part of drawing is that it should have atmosphere.

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It should have energy.

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It should have rhythm.

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And that is what brushes are good for.

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What very hard pencils are not so good for.

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So this first lesson in tone also introduces the possibility of using

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a softer and more lyrical, more flexible medium.

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So the fourth lesson introduces not simply tone,

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but an ability to use tone in a more energetic,

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lively, and imaginative way.