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What is the difference between “block in” and “rendering” in this context?
When you need to make dark areas even darker, do you add graphite to the same areas again? Of the same hardness, or can it differ? Do you use an entire range such as 10B to 10H, or only selected grades?
I found your post requesting feedback on the composition of that bespoke drawing interesting, and it’s a bit sad that there were no replies or discussion. It seems as if you tried to balance the overall dark versus bright of the whole picture, to make it more appealing.
Would you please consider adding a ruler or something for scale in a photograph of this figure drawing? I’m only a beginner, but I can’t quite understand how you manage to get such level of detail on what looks like grain at the level of Arches cold press watercolour paper.
I enjoy your posts, and your focus on values. Please continue!
Thanks for the comment, totte. I’ll try to answer your questions one by one:
What is the difference between “block in” and “rendering” in this context?
I’m using “block in” here to mean finding the outline of the figure and the main shadow shapes, without trying to render form.
When you need to make dark areas even darker, do you add graphite to the same areas again? Of the same hardness, or can it differ? Do you use an entire range such as 10B to 10H, or only selected grades?
This is an area of technique that I am still trying to master. In this instance, I blocked in using just an HB pencil, adding tone in the shadow areas to help me see the drawing better, then I erased all that tone when the block in was complete and replaced it with a 6B, very lightly. I find that when I’ve added tone to an area in a harder grade pencil and try to use a softer grade over the top to make it darker, the paper won’t take the softer graphite, so I wanted only 6B graphite in those areas to keep the full value range available in the shadows. I try to creep up gradually on the shadow values until I’m sure of my drawing, so that I can always erase things if I need to. I use VERY sharp pencils and try to darken areas first by filling in white spots where the graphite has not filled the grain of the paper (quite tedious), and then by applying slightly more pressure. Sometimes I will go into areas with a harder pencil to fill the grain and get a more even tone without going too dark, but I avoid using a softer grade pencil over a harder one.
I’m trying to get by with a 3H, HB, 3B and 6B.
Would you please consider adding a ruler or something for scale in a photograph of this figure drawing? I’m only a beginner, but I can’t quite understand how you manage to get such level of detail on what looks like grain at the level of Arches cold press watercolour paper.
The paper I’m using here is a heavyweight cartridge paper from Daler-Rowney, in A3 size. Actually quite smooth. My photographs always seem to accentuate the grain of the paper, but it’s certainly nothing like watercolour paper. The figure is maybe 10 inches/25 cm high.
Hope that helps!
DAYS 86 & 87
Sorry for not posting the last couple of days, but I have been working hard to get this finished. Happy to say the I posted it to the customer this afternoon.
What a beautiful portrait! I’m certain that your friend/client will be overjoyed. I’ve watched your progress with great interest, and all your posts have been very informative. Your answers to Totte’s questions in particular were really valuable to my personal work. I wanted to ask a little more about your shading technique and what kind of strokes you use to build up the tone as your value control is remarkable. I like the effect of blending using a harder pencil over a softer pencil, but I often just resort to a stump or chamois. Your work is so exquisite. Do you use a blending stump or brush, or do you blend with small strokes? Also, I was curious how your think the Anatomy Masterclass will influence your future work. The assignments you submitted for that are nothing short of remarkable. Thank you for sharing!
Wow, your submissions are fantastic – it is great to see how things have changed over the 100 days… I’m on day 3 !
Great to see that this is possible – thanks for the inspiration. Jo.
DAY 88
I had a wee hiatus from the 100 day challenge, as I was visiting family for the weekend. Got back and did a little today, but not much as I am itching to do some plein air painting and have been rewatching some Richard Schmid videos.
Folks, I am extending my hiatus for a few more days. My mum is staying here for the week and my brother is coming through for a visit too. Rest assured, I will be back, but it just feels a bit rude to disappear to the studio of an evening while I have guests. Plus, I want to watch the new James Bond movie.
I did head out today and do some plein air painting, but that doesn’t really belong in this thread, which is meant to be figure and anatomy focused. I’m going to start another thread for my outdoor painting efforts and I’ll post a link here when I do.
Thank you for your comments Jo and Jan. Jan, I’ll try to answer your questions briefly:
I don’t use a stump much, because I find it quite difficult to control. I usually end up with a smudgy mess when I try to use them. I’m working on it though. I sometimes use a shammy, but same problem. Mostly it’s down to pencil pressure and grade, and adjustment with a kneaded eraser. Hold your pencil near the blunt end to get better sensitivity.
I think the anatomy matter class will be very helpful. For starters, you only see what you know. Understanding the structure of what you’re looking at makes it much easier to make sense of the visual information available. Moreover, I think that structural understanding is going to be essential for bringing design into my drawing, while keeping everything believable.
DAY 89
Something I haven’t been doing enough of is daily life drawing. So here is a 20 and a 30 minute sketch.
DAY 91
I’m back to working on this dude. Going to give myself until the end of the week to get him as finished as I can. I’ve got a first pass in on the rendering now, so I’m going to focus in on key areas and try to nail the most important bits, starting with the shoulders and upper torso.
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