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.
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.
Ron Lemen’s Figure rendering process. A very analytical approach to understanding figure abstraction, construction, and rendering.
There are four videos in the series.
The first video discusses the “Armature Stage”, which basically is capturing the gesture of the figure in a loose manner: “Loose and lively in the line work”. The most important take away for me in the first video was when drawing from reference photograph we have to know where the camera is in our reference, our camera level as oppose to our eye level sitting or standing in a classroom or studio.
The second and third video discusses surface form rendering. The topics discussed were: Edges of shadow and light and the gradient transitions that links them, value contrast, and tonal progression (vertical and horizontal gradient)
The fourth video just recaps what he went over in the previous videos.