Pencil Time

After my attempts at a portrait of a person, the realization was that my shading skills are not really good.  Also, my Pencil Portraits class recommences on 2/17, so I thought it might be a worthwhile endeavor to work with a pencil, and work on value with the pencil.  This certainly will benefit any studies I do in the Pencil Portraits class, and perhaps get it into my thick skull to think a lot more about gradation and value than I do!  (Magpie Brain loves bright colors.)

I am very fond of the books by Alphonso Dunn on ink drawing.  His work is phenomenal, and I have learned a lot through his exercises.  Given this, I decided to apply some of his studies to pencil work rather than ink.  All of these exercises come from his Pen and Ink Drawing Workbook.

Above, is the first one I attempted.  If you look closely, you can see the page numbers in the sketches (enlarge the images by clicking on them).  These studies were outlines with a choice of light direction.  You have to use your imagination!

Shapes and shadows – reflected light, cast shadows, highlights.  Simple forms and then a rather pathetic toucan.

I particularly enjoyed employing the pen-into-pencil of these drawings in Mr. Dunn’s book.  His are obviously rendered in black and white, with shades of grey determined by pen strokes.  Here, I took his studies and applied pencil – graphite – to them.  They include a cabbage (I know, it looks like a brain), mushroom, hammer, and bow tie.  Each has a different set of textures.  I started to visualize where the light source was, and that really helped me start thinking more about what I was doing.

For all of these, I used a 2B pencil and a sketchbook, along with referring to Penn and Ink Drawing Workbook examples.

97. Tulips

Having photography as a hobby sometimes yields pictures that can be used to create more pictures.  I decided to give up the no-lines approach for now (though it is a great exercise to learn how to make shapes – I was just really frustrated by what I was doing), do some pencil roughing, and then work one color area at a time.  First the tulips in shades of red, orange, and yellow, mixing some oranges as I went.  Next, the greens of leaves and stems, consciously determining the areas to negative paint later on, as for the flower petals.  Finally, the bowl.  Before the whole was done, I went back to each area and tried to create a sense of depth by deepening other areas and being careful not to touch the areas I had left deliberately white.