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A curated shelf, not a search result. Every video here was chosen for one specific thing it shows well, is linked from the studies that need it, and can be opened on YouTube in your browser from the button on each card. Nothing loads from YouTube until you press play.

Corot and the masters

A single late Corot looked at slowly; watch for the three divisions of light and the lost edges.

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A dealer's short introduction to the hand: Italy, Ville-d'Avray, the silvery late manner.

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The best full documentary on Corot available free. French narration; turn on auto-translated captions.

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Not a lesson: a slow slideshow to leave running while you draw, to absorb the value range of a lifetime.

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Curators handle Corot's actual glass plates and prints. French; the images carry it even without captions.

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Timothy Wilcox on the Normandy tours and the Architectural Antiquities etchings. The architectural half of this course, explained by its curator.

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Ten minutes with the drawings on the wall. Watch how few values Cotman uses.

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The whole Vedute series paged through. Note how small the figures are and how large Rome becomes.

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A proper talk on how Piranesi built his plates and why they still work.

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Etching, lithography, cliché-verre

A living architectural pencil draughtsman at work. The closest modern analogue to the Forrest side of this course.

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Four minutes that make every etching in this catalogue legible: ground, needle, acid, ink, wipe, press.

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Filmed at the Rembrandt House. The clearest view of drawing with a needle through ground, which is why etched line looks the way it does.

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Shows how a plate is bitten in stages for lighter and darker line, the origin of counted tone.

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A modern printmaker inking and wiping a plate. Watch how much tone lives in the wipe.

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Corot's 1871 autographies are crayon lithographs. This is the process in four minutes.

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Grease and water on a stone, demonstrated in Edinburgh, Forrest's city.

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The drawing stage only: litho crayon on stone behaves like charcoal on toothed paper. That is why the Corot lithographs look like his fusains.

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Tools and marks

Tripod and overhand grips, and drawing from the shoulder. Watch before Foundations session 1.

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The long point, step by step, with the sandpaper block.

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A second angle on the same skill; useful if the first one did not click.

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All six mark families in one sitting.

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Cross-hatching taught as a value system, which is how the etchers used it.

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Short, practical, about angle and spacing discipline.

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On the quality of each individual line inside a hatch, which is what separates Meryon from a beginner.

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Squinting, value scales and why beginners under-read darks.

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Laying a charcoal ground and lifting the lights out, the late-Corot method.

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Broad charcoal masses and lifted lights; the closest thing on YouTube to a late Corot being made.

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Value grouping and a dark foreground frame, in charcoal.

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Three recorded lessons condensed; methodical and slow.

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Permission to be loose. Watch the side-of-the-stick strokes.

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Charcoal pencil for the branch zig-zag and the darkest accents.

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Seeing and measuring

Corot drew his late figures from memory of the pose. Proko shows the drill: look, close the book, draw the gesture, compare.

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Two- and three-value notan, the exact exercise the Mass studies start with.

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Shadow shapes as flat masses first. Shown on a portrait, but the principle is identical for a tree or a tower.

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Sighting angles with a pencil against level and plumb.

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Comparative measurement with a straight arm, demonstrated on a still life.

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Unit-counting on a real subject.

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The negative-shape habit, which places Prout's pinnacles and Corot's branches.

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A longer drill on drawing the gaps.

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Thumbnails as design, not sketches. Pairs with the viewfinder.

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The short version for a complete beginner.

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The memory exercises behind Corot's souvenir method.

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Look, turn, draw, compare, for beginners.

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Mass: trees, air, water

Trees as masses in graphite, with the edge texture where it belongs.

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Clump construction and sky holes.

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Vertical strokes, darker lights, horizontal breaks: the pond at Ville-d'Avray in method.

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Five hills, five values, in graphite.

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The same idea in a full landscape.

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Gentle, narrated, and exactly the beginner level.

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Line and architecture

A street in one point from a blank page. The Old College Wynd set-up.

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The shortest clean explanation of the vanishing point.

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The corner view, built slowly.

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Longer, covers dividing bays and off-page vanishing points.

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Applied to an old building with a tower.

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Structure first, then tone, on a real stone building. The method of the Architecture studies in a modern hand.

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Line weight hierarchy and when to stop, from an architect.

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Two centres, two arcs, in ninety seconds.

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Equilateral, lancet and drop arches constructed properly with a compass.

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Trefoil and quatrefoil geometry, the tracery lesson's circles.

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How the masons did it on site, which is how you do it in the field with a pencil.

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Stone and brick texture; use it for the near courses only and let tone do the rest.

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A ruin blocked in from the envelope. Ink and wash, but the construction is identical in pencil.

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