I am using Dura-lar film matte surface as my substrate. It has just enough tooth to hold the graphite. It is difficult to get rich dark marks with pencils, however you can use other media to achieve that. This leads into why I love using this substrate. You can use multiple wet and dry media on the surface, like oils, gesso, and acrylics. I have not tried pastels, but I don’t see why it wouldn’t work. I look forward to experiment more with this surface and sharing my results.
Greetings everyone! Hope everyone is having a wonderful afternoon. I will be continuing the facial feature study from yesterday. Stop by and say hello on Twitch!
Greetings everyone! Today’s post is a portrait that I have been working on and off for the last two months. It is still in its early stages, and I am hoping to complete it soon. The reference is from Croquis Cafe photos archive. The photos are free and according to them, you can “[d]ownload them, draw from them, repost them, do with these photos as you will”. Their only caveat is that you keep their Croquis Cafe Logo in place. Sweet!!
By the way, I am not affiliated with Croquis Cafe whatsoever. They are amazing, because they have such liberal usage rights when it comes to their photos! That is a rare thing my friends! Have a great weekend!
Portrait charcoal study on Canson paper. For this study I employed the “wipe-out” method where I first covered the entire paper with a medium tone of charcoal and then proceeded to wipe out the lights with a piece of leather chamois. At this stage I am only establishing the major light and dark patterns (Notan) of the portrait. I am also checking overall proportion, gesture and shape accuracy. Initial darks are laid-in with vine charcoal.
If I feel confident of my major proportions and shapes, then I switch to charcoal pencil and start to delineate smaller forms lightly, being careful not to make any permanent marks (I have a tendency to press to hard with my charcoal pencil). At this stage I am searching, adjusting for smaller forms, again checking proportions and shape accuracy and how the smaller forms fit within the whole. My darks are still relatively light at this stage.
After massing in the smaller forms, and feeling confident about their placement, I start to model; taking the relatively flat shapes and making them 3-dimensional.
Following along with Steve Houston at NMA. Charcoal on Stonehenge paper. This was a nice tutorial on rendering gradations. Started out with an initial lay-in, demarcating the light and shadow side of the figure. From the core shadow scrubbed in a smooth gradation working into the shadows and then the light side of the figure.
I just love doing this value study of William Merritt Chase’s “Portrait of a Woman”. It supposed to be a preliminary sketch for an oil painting value study that turned into a full charcoal value study. The support is for oil, not charcoal, and therefore it was challenge getting the values just right. It was difficult laying my darkest darks as there was little tooth to the surface. There was something haunting about this peace, however it could be the music I was listening too whiles drawing: Wars of Faith by Audiomachine. Anyway, it was a great study and I think I will do another one from this artist again. Hopefully, I won’t get carried away again in charcoal.
Portrait study of my daughter. Crazy hair day!