In the beginning, my main concern is to find the gesture of the figure, feeling how the main masses move and oppose each other. At the same time, I work to establish major proportions, relating one part to another.
Once I'm happy with the gesture and major proportions, I map out the main shadow shapes and fill them in with a flat value. On the light side, I look for major landmarks and map them out accordingly.
After my basic framework is established, I can begin adding intermediate values to turn the forms in a general way. I increase the contrast between the shadows and the lights, so I can maintain a clear separation as I work in the halftones.
At this point, I start thinking of the drawing as if it were a sculpture. My aim is to carve in the forms and make sure that I capture the anatomical complexity of each part, while keeping the unity of the figure.
Working on one section at a time, I continue to think of how the light affects the forms in space. I address every edge and make sure that it has a sense of movement and expresses as much information as it can.
In the final stages, I reassess the drawing as a whole, add dark accents and introduce the brightest highlights. For me, the finish is not about polishing, it's about making sure that the information in the drawing works together as a whole.
I'll be posting more demos like this in the future, so stay tuned!







2 comments:
Is that colored pencil on shellacked paper or just conte? Either way, its masterful. Wish I could go to your class.
Thanks K_Teran! I haven't tried shellacking my paper yet, but I'll post some examples when I do. I used a regular Colerase pencil for this.
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