Today I watched John Muir Law’s workshop on colour and value, taken from his blog post of the same name – it’s a long video, but I found it really worth watching:
I was intially surprised when he said that getting value right is far more important than picking the right colours. He showed the effect of colour filters over a picture, and one participant added a comment about black/white filters, which ultimately remove all colours and leave only values in form of greys. I looked again at the blue foal I painted last week and found that many areas of the painting were either too dark or too light. I am not so good at painting, so what happened most of the time was that I painted a stroke with the brush, to discover only afterwards if it was of the right value – and I was not very lucky 🙂 So today I tried again, with a HB pencil.
This time I got closer to the appearance of the legs. I left less white, less light tones, and tried to get the strong shades around bones and tendons, especially in the hind leg. The head was not so much in my focus, so I think that for example the ears could have been darker, and some details are missing; but overall I find this attempt more 3D than the blue one.
What do you think? Is there anything big that I miss, or some advice I could make good use of? Thanks in advance for your comments 🙂
Today I dedicated some time to drawing, after a pretty long break. I was in my local library, reading a horse magazine, and found the picture of a foal particularly sweet, so I decided to copy it. Its pose was quite challenging:
I first measured the total height and width of the foal with my pencil, and found out they were the same, so I transferred the measurements on the sketchbook and drew a large square. Then I measured with the pencil some intermediate points, like where the ears met the square, where the elbow was, how high was the hip from the bottom of the square. I didn’t make much measures and started outlining the shapes right away. Therefore, when later I looked at the picture and the drawing side to side, I had to make a few adjustments in the proportions.
I then used a pink pencil to draw some schematic lines, like the midline of the head, and the circle where the neck meets the body. It was not easy at all, with the foal lying on the grass all bended in many directions. I chose a red pencil to draw over the outlines, so that the pink lines represented only imaginary boundaries. I finally drew light blue lines that connected the eyes, the shoulders and the hips (well, for the hips I was only able to guess). After double-checking with the picture, I made some corrections with a green pencil:
I’m going to continue another day, by using a new sheet of paper and copying only the outlines, and then proceed to draw the shading. I will maybe do another sketch with watercolour, to quickly test the main shaded areas, and to resume with that technique too. I’ll keep you posted!
I enjoyed experimenting with watercolour. I was initially worried of doing mistakes that I could not correct, but instead felt a lightness in filling large areas so fast, with a light touch of the brush, and see how I could move paint around thanks to water. I added pencil details after the paint had dried a bit, so in some areas the wet paint diluted the pencil and made very rich colours.
I’m happy with the right side of the drawing, I consider the colors right and the pencil addition quite balanced; the left side was too lightly painted and I used a lot of pencil, a bit too much. The proportions of dark and light areas on the left side are also not so similar to the picture, maybe because I started painting when I had observed the picture too quickly (especially that part).
Overall I am satisfied with this painting, it gives me a positive sensation and it motivates me to try again! I liked the speed of the paint part and the combination with pencil. The video and slides give a lot more information and techniques, so I’ll consult them in the future to pick new tips and improve. I hope I inspired you to grab a pencil and try this yourself! I’d love to hear your feedback on the post and hopefully see your own paintings 🙂
Today I watched John Muir Law’s lesson about drawing 5-minute landscapes and got inspired to draw one myself. I went to the park near my house and picked a corner with a couple of trees. The sun started to shine nicely right as I started drawing, so that it made better shadows. I took longer than five minutes, but not more than fifteen. Here is the result:
I am quite happy with the result! The subject in itself is not so exciting, the drawing is far from pretty, but I am proud of having been able to watch the video, grab my sketchbook and pencil, go outside, find a subject to draw, and actually draw it. I could have stopped anywhere in the process – I could have thought: yeah it’s late for today, there is not much light, there are no nice landscapes around my house, this sketch is not looking that good, I’m not going to finish it… instead, here it is!
I hope this inspires you to do the same, find a small art task like these 5-minutes landscapes, complete it and feel proud of your achievement. Any journey starts with a small step!
Hello all! Today, for my Sunday’s art post, I wish to retrace the steps of the drawing of the leaping horse I prepared for the final assignment of Natural History Illustration 101 eCourse. I hope it encourages you to draw more!
So, first I chose a picture that I wanted to copy, and after a long search, I fell for this one and printed it out:
I have been drawing horses since a while, so I am already a bit familiar with their anatomy and proportions. Still, I worked on a preparatory study that shows the main inner structures (not really the bones, but straight lines that are a simplification of the bones):
In the preparatory study I traced the main structure lines with a pink pencil, to let them stand out more, then I added more lines with a graphite pencil. While doing this study I realised that I made the belly and hind legs too small, so I erased them completely and re-drew them by measuring relative proportions with the other parts of the body that I already drew. The study helped me in the next stages of the drawing, by making me notice proportions, symetries and relations between the different parts of the body of the horse.
Then I took a new piece of paper, went to the window to use it as a tracing table (a transparent surface with a back light, that enables you to overlay two sheets of paper and trace on the top one by following the contours of the picture on the lower one). I have no picture of it, but it was simply the outline and a few more inner lines.
I moved back to my desk with the new sheet and used a 6B pencil to draw the basic tones:
Sorry for the blurred picture, the camera didn’t get enough light to focus properly. I started with the head and right front leg, then proceeded from left to right (so that I didn’t smear the drawing with my hand). I chose to change how dark to make an area only by looking at neighbouring areas, so when I finished the drawing I noticed that the right hind leg was the darkest area, when on the picture it was not; maybe I should have regularly compared which areas of the whole picture had the same shade.
Then I proceeded with harder pencils (first 3B, then B) and made more definite, crisp, and dark shadows, with care not to cover the very light areas. Again I proceeded from left to right, but in addition I put a piece of paper below my hand, to avoid smearing. I had to catch up with the dark areas of the head, neck and front legs, while comparatively making less tonal adjustements on the back legs.
The final touch was the rendering of the hair. This horse, and its breed, has very short hair that I could hardly represent in the picture, because I hadn’t any pencil sharp enough to create that texture. So I thought of using my mechanical pencil with HB mines of 0.5mm and made some hatches on the shadows. I refined the shadows of the mane and tail, but am not really happy with them:
The important things that I learned while making this drawing are:
Make breaks when you feel that your concentration level is getting low. You can come back after a few hours or the day after.
Get a full mental image of the main tones, so that you have it as a reference when you make shades.
Allow yourself to draw a bit and to erase what you don’t like. This is the big advantage of pencils!
Make the preparatory study, so that you have the anatomy of your animal in mind, you can guess its three-dimensional shape and consequently lights and shadows. It is also an excellent time to get the outlines right, with as many attempts as you want, before copying them on a fresh sheet of paper.
I hope this explanation encourages you to try drawing your favourite animal! Do also browse the Internet for material and videos about drawing techniques. There are some amazing teachers out there!
It is natural to work on the non-dominant hand (the left hand for a right-handed, and vice versa) on the drumset, where it is required that both hands develop equal strength and precision. It is not considered when drawing, but as my recent studies focused more on observing than on technique, why not letting my non-dominant hand draw too?
I felt that the observation step was as accurate as by right-hand drawings. The difference came when I had to draw – my left hand has very seldom held a pencil, so there is no muscular memory of a pencil grip. I somehow grouped my fingers together and started with the mare’s head. You can see the hesitations and trembling. There was sometimes too much opposition from the paper, that my left hand had to try hard to move the pencil. Another difficulty that arose half-way was that I started drawing, as usual, from the left – not taking into account that my hand would cover the drawing, therefore I went on holding the hand and arm above the drawing, like left-handers do when they write.
The drawing took maybe ten minutes to be done. It is of course very sketchy and by no matters finished, but the point is made: a good observation matters more to me that technique. Even from an unschooled hand, the subject is recognisable and with acceptable proportions.
That made me also think how adults can forget how hard it was to learn to write and draw when they were children. It is a good refresher for my teacher’s future.
I hope this is of encouragement for you! Let me know in the comments or on your blogs about your drawing experiments.
I have come to realise that (realistic) drawing requires a lot of concentration and observation, more than technique. I think that I need to train concentration and observation first, so that I can work in longer sessions. I suppose that the need for technical progress will come as a consequence of more sketching, and it is nowadays quite easy to find information in libraries or on the Internet about a specific style, tool or technique. For the moment I stick to my simple pencils and felt pens – and practice.
I also noticed that I draw more easily when the light creates good contrasts. It is for example challenging for me to draw in the evening without a significant light source, or when it is available but can’t create enough shadows. I also am a bit short sighted and I feel I am missing some details that I would like to draw, and good lights are a big help in enhancing smaller details.
So my two suggestions for the random sketcher: train your observation skills, and look for good light sources!
I liked the detail of her explanation and the attention required by this small exercise. It is definitely a right brain exercise, too slow and uninteresting for the left brain; but in the end, the smoothness of the graduation is a valuable result, if you blended it well.
It makes sense to practice this exercise with different square sizes and angles.
Among my pencils and pens I found a sanguine pencil – a thick, reddish, crumbly pencil. In Italian it is called “matita sanguigna” or simply “sanguigna“, because of its red colour. The main component, that gives it its colour, was the iron mineral hematite (from which comes the Italian name for the pencil, matita). Nowadays the same texture and colour are obtained with other materials as well. The Italian Wikipedia entry is clear and complete, mentions history and drawing techniques, it is worth a read even through a translation tool!
So far I have only sharpened the pencil and copied a small tree. This pencil is different as it is much crumblier and messier than regular pencils – but not as messy as charcoal, in my opinion. I like it very much and I want to take inspiration from artists’ masterpieces, so stay tuned for posts with pictures 🙂