IslanderNL
Nov 7 2006, 07:48 PM
Over time, people have a wide variety of 'tricks' they use to make life easier for themselves in creating art. Here we can trade ideas and tips for drawing, painting, storage of artwork, how to write an artist statement, draw a ball, shade an elephant....the list goes on and on.
So ask your questions. There are no stupid questions and there will always be answers. Your questions and your answers will not only benefit you but I am sure there are many more people out there reading this who will also be thinking the very same thing too.
Here is one question that I get a lot. How do I know where to start a drawing? And how do I know when I'm finished a drawing? Ok, well that's two questions. I'll provide the answers later.
Any more burning 'how to' questions?
kim1963
Nov 7 2006, 09:13 PM
I think this ia a good idea .. that way they know right where to come for answers . well done jeanette .
ukartist
Nov 7 2006, 09:22 PM
i Think this is a good idea aswell
i will be inking in my landscape tomorrow do u know of any good websites that teach tech on inking at all?
IslanderNL
Nov 8 2006, 12:16 AM
Thanks Kim. Its always useful to have questions answered and secrets shared.
UKartist, try this site:
http://www.wetcanvas.com/forums/showthread.php?t=304494 There are tutorials on pen and ink for all types of foliage so it may be useful when you do your garden drawing. The guy who does it is really good.
Now to answer the questions that I started off with. Where to start a drawing. Everyone is different. Generally I block in the main shapes first starting at the top and working down and from left to right. After that, I work on refining those shapes further to define the actual lines of the object. When I draw an animal or person, I start with the eyes first. If I get them done correctly, the rest of the drawing comes together based on that. If not, more work to do!
The second question was 'How do I know when a drawing is finished?' That's a tricky one and many artists feel that a drawing is never complete. However there comes point when you feel that you have completed all the major areas and tones and shading and you can't do much more. Stand back and look at your drawing for a day or two from a distance. You've been hunched over it for days or weeks and see the close up version in your sleep. You need to have the image that the average viewer has.
At that point, its time to put the drawing away for a week. No peeking! Then after a week, look at it again with fresh eyes. At that point, any little things that need to be tweaked will be apparent. After that, its done!
Laura01
Nov 8 2006, 12:52 AM
Jeanette,
This thread is a wonderful idea...as per your suggestion I will post the link to making your own
tortillion here....a tortillion is a blending tool made from rolled up paper it helps get those hard to reach places and when it is loaded with graphite you can even use it to draw or "paint" in lighter tones.
Laura
After surfing through the forums I ran across a thread posted by woo for this same link...
IslanderNL
Nov 10 2006, 06:04 PM
Bumping this up for others to see
kim1963
Nov 10 2006, 07:32 PM
Jeanette do you live in the cottage ? very nice area ..looks cozy ...love the little grave yard.
IslanderNL
Nov 10 2006, 07:42 PM
No, I don't Kim. It was a house in the village that I used to live in years ago.
racedolls
Nov 10 2006, 09:37 PM
Hi everyone--i have a question about drawing courses of some type. i am thinking about taking some online courses to improve my drawing and maybe learn more about color and so fourth. does anyone have any suggestions on where i could find a good course for this. figure drawing, portraits things like that.
Jeanette--Brenda had mentioned about doing courses or classes or something of that sorts earlier, do you know anything about this or maybe when it might be available because i would wait and join one of them. thanks
Lori
ukartist
Nov 10 2006, 11:07 PM
Please brenda or Jen tell us about the Begginer course that brenda has lined up? i would love to do that
The london Art college is Very good!!
im studing with them now and you get your own tutor that is a professional artist
im doing the drawing and painting Dip and it covers so much its verry good with the distance learning course that im doing they teach
you everything from Colour mixing primary and secondary colours Materials needed, perspective, pen and ink drawing, drawing plants and flowers, drawing animals, drawing out of doors, using the photocopier, distinction between pen and pencil, illustrating for children, materials and colour, watercolour techniques and preparation, size and proportion of pictures, composition, landscapes, creativity in painting, oil painting, experiments with style, acrylics and gouache, life drawing, life and movement, male and female comparisons, portraiture, graphic design, poster painting, lettering, book jackets, greetings cards, fashion drawing.
they have other courses they are listed below for you
there website addy is
www.londonartcollege.co.uk
[/center]
racedolls
Nov 10 2006, 11:52 PM
thanks uk, this sounds perfect. other suggestions welcome still.
uk are all these distance learning?
Lori
ukartist
Nov 11 2006, 12:04 AM
Yes they are all distance learning its a distance learning art college only
IslanderNL
Nov 11 2006, 01:22 AM
I know Brenda is in the process of developing an online drawing course, but know no more than that right now I'm afraid. I'm sure she'll let everyone know as soon as something is ready to go. These things do take a lot of time to put together. I'll see what I can find out.
As for online drawing classes, I don't have experience personally with them but I know there are a number of them around. You should be sure to have a look at the content and some examples and if possible talk to people who have taken the courses and see what they say about them.
Whether online or in reality, you still need to be prepared to put in the time in practice and be able to research techniques and materials and speak to others and get feedback to ensure that you get the best out of the course.
Many online courses do not provide recognized certification or diplomas, so if that is what you would want, you need to go to a reputable art school if you want that proof of certification and check out what is offered carefully.
As with all things, buyer beware. Know what you want, know who is offering the courses, know their reputation, make sure there are no hidden costs and ask for credentials of instructors and to speak to those who have taken the courses prior to you.
ukartist
Nov 11 2006, 11:26 AM
heres some info on the london art college they are very good college!
let me know if any of you start a course with them as i would love to keep in touch with you!!
<H1 align=left>Accreditation</H1>[left][left]The college holds full accreditation from the Open & Distance Learning Quality Council. ODLQC, set up by Government in 1968, is recognised as the guardian of Distance Learning standards in the UK. ODLQC accreditation sets the provider apart as a member to one of an elite group of providers. Colleges only receive accreditation after rigorous scrutiny of the College, its programmes, tutors and administration.
Potential students need to know where good quality can be found as quality is particularly important in Distance Learning. New and inexperienced providers are moving into distance learning, but good intentions and a glossy brochures and web sites are no substitute for experience. What the students need are materials, advice and support that are relevant, reliable and consistent. ODL QC accreditation provides independent, authoritive reassurance that the London Art College's courses provide all these things. You can enrol with complete confidence.
The London Art College awards its own prestigious Diploma or Certificate to students who successfully complete their chosen course. There is no examination to sit, but the College awards students their diploma / certificate at Pass, Merit or Distinction grade depending on achievement and application
The London Art College was founded in 1931 by a group of working artists and art editors who believed that a new kind of art school was needed. Foremost amongst them and indeed the originator of the concept was A.W.Browne F.Z.S one of the all time great artists of Fleet Street, then the home of the British newspaper industry. The London Art College was to be unlike any other art college. It would be practical rather than academic. It would be completely comprehensive in the areas where an artist could earn a living. It would provide outstanding tuition by artists who were currently selling their work, rather than by ordinary academics. To make its services available to aspiring artists wherever they lived, it would teach its students by Distance Learning in the comfort and convenience of their own homes. [center][left]To this great concept all the founding artists and art editors contributed. Everything they had learned by being practicising artists was incorporated and more has been steadily added as courses are regularly renewed and revised over the passing years.
Bill Browne, as everyone knew him, won national fame. His first books were published in the 1920's and he continued to publish for another thirty years.
Apart from his best selling books on painting and drawing, for many years he contributed a daily cartoon to one of the leading newspapers and was a regular contributor to the Daily Mirror, Daily Express, Daily Mail, News of the World, Sunday People and was consistently featured in Punch, Tatler and other leading magazines of the day. He was an Official War Artist in the 39-45 war. Bill was never too busy or too important to help younger colleagues. Success had not come easily to him in the early years of his career. He realised that artistic talent was not enough
[/center][/left]
[/left][/left]
To be successful, an artist needed the knowledge of how art could be used to develop an income. Artists needed to understand particular markets and they needed help to bring out their talent and to adapt their natural flair to meet market demand. Throughout the ages young artists had studied in the studios of the great artists of the day. Bill Browne and his friends and colleagues at the London Art College wanted his college to carry on this tradition. It was to be the place that aspiring artists of all ages could get the tuition, help and encouragement they needed to succeed in the profession he loved.
Today the London Art College acknowledges the debt we owe to Bill Browne and the other founding artists and strives to continue in the spirit with which they started the college, three quarters of a century ago.
Our courses are new, developed for the twenty first century, but we share with the founders the genuine wish to help all our students, as individuals, to achieve their personal goals - to help them become successful, fulfilled artists.
racedolls
Nov 11 2006, 10:02 PM
thanks uk that sounds really great and when i decide if i want to take a course i will certainly keep in touch. it really sounds like a great school. i have been doing searches and found some courses but i am very skeptical, i dont know anyone taking them or cant find info on the school. so i will probably go with this one. it will probably be after the holidays though. thanks for all info, you have been a great help.
Lori
ukartist
Nov 12 2006, 11:16 PM
Your welcome
IslanderNL
Nov 17 2006, 12:21 AM
Bumping this up for all those burning and not so burning questions...
Coloured pencil concerns?
Wavy watercolours?
Obnoxious oils?
What's baffling you? Is there a technique that you want to learn about? From what kind of pencils to use to paper choice. Ask and we will try to help you out!
racedolls
Nov 21 2006, 11:54 AM
hi i have been working on the color pencil portrait of my neice, i started a new one and i think its in that ugly stage i have heard you refer too, i have done about five layers i think so far- (when you said layers i had no idea) i think the last layer, (peach) that i have put on is a little to bright, what can i use to tone that down just a little, now i am not done with that layers, i still have to ad some pinks to the cheeks and nose and i still have to do the shadows so should i wait to tone down until after that or should i tone down now. i didnt know if i should post the unfinished portrait in critique thread or here or at all. let me know. thanks
Lori
oh and i used some sketch paper that i bought from walmart that was suppost to be heavy wieght and not paying attention when i started i just dont think it has alot of tooth, but since i am just learning from and more than likely be doing another of the same pose i just want to follow through and finish this one.
thanks
Lori
IslanderNL
Nov 21 2006, 01:11 PM
You could try some beige/tan to soften the peach a little Lori or a little rosy beige or clay rose, but usually when you start to model the shadows and add other colours, it will recede anyway. Its difficult to say without seeing the image itself. In many cases you can take the 'heat' out of the peach by using a bit of green too, but more in shadows.
Here's a link to a CP portrait tutorial that may help a bit.
http://drawsketch.about.com/gi/dynamic/off...berg/index.html
CMMorgan60
Nov 21 2006, 01:46 PM
QUOTE(IslanderNL @ Nov 7 2006, 07:48 PM) [snapback]4546[/snapback]
Any more burning 'how to' questions?
Question....Lets say I have completed a pencil drawing in my sketch book and I want to transfer they pencil drawing to another type of paper to do the final project. What is a good way(s) to transfer the drawing?
Thanks,
Chris
IslanderNL
Nov 21 2006, 02:28 PM
If its the size that you want then you can simply trace the image using tracing paper, then trace from that onto your paper of choice or use a lightbox or window to trace it directly onto you paper.
If you want it larger or smaller, that is where a grid comes in handy. If you grid your sketchbook image at say 1/2 inch squares and want your new drawing to be twice as big, then simply make 1 inch squares on your new paper and transfer the image that way.
I hope that makes some sense Chris.
Venus
Nov 21 2006, 02:29 PM
Chris...When I was in High School we used the old method maybe because carbon was ugly to transfer but if you color the back of the drawing evenly with pencil like a #2 and shade all of the back you can trace over the art work on the front laying the scribbled part on new sheet of paper and you should get a light sketch on to the new paper. You may have to erase a little of pencil marks made from the back of the scribbled part you do not want on the paper. I hope this makes sense.
CMMorgan60
Nov 21 2006, 03:22 PM
Thanks gals. Both of your replies make sense. Before I am done I will probably try both on diffent projects to see which I perfer.
Chris
J-Lynn
Nov 21 2006, 03:41 PM
I use the method Venus described also. Even if you use graphite paper to trace a drawing, it can be difficult to remove or even lighten. A lot of the time, I keep a sheet of regular paper with the back scribbled on with pencil to use as a transfer sheet.
Also, if I want to resize a drawing of mine, I use my computer. Even if I want the drawing to be 3 times the size or larger than my printer can handle, I can print sections & piece them together for tracing onto the paper I want to use. Much quicker for me than a grid & I don't risk losing the detail or proportions. Of course, you need a scanner, graphics software & a good eye to line things back up when piecing together.
J
Laura01
Nov 22 2006, 11:55 PM
Chris,
I've used the transfer method Jeanette and venus have described before and it does make things so much easier! Just be careful to tape down the original so that it doesn't shift while you work and also watch how much pressure you apply to your pencil as it will leave indentations on your good paper that could make things difficult later as you shade and blend.
Laura
maurice
Nov 24 2006, 08:12 PM
This may have been asked before but what paper do you guys recommend for attempting realistic portrait blending
I am currently using mid range priced paper bought from a large newsagents chain that sell art materials - I am almost too nervous to spend too much on paper when I may make a mess of the drawing
The question is now much difference does it make good paper VS mid range paper when it comes to blending as the drawing I am doing at the minute seem to be patchy and doesnt blend properly - is it me (probably
) or the paper.
I appreciate its a difficult question to answer without seeing what paper I am using but hey I am in awe of some of you guys so dont let me down
If the answer is dont be such a wimp and go for the good stuff and see what happens I will understand
Maurice
IslanderNL
Nov 26 2006, 01:37 AM
Maurice, it could be the paper, it could be the pencil too. What kind of pencil are you using? Some brands that are inexpensive have inferior mixes of graphite and clay in them and sometimes hard grains occur in the lead and make drawing and shading difficult. that doesn't mean you should rush out and buy the most expensive pencils around but you should bear in mind that your drawing is only as good as the tools that you use. That includes pencils as well as paper.
The paper that I recommend to my students to use for portraiture is Bristol Smooth or vellum. It provides a good surface that allows enough layers of graphite to build up your darks. Another personal favourite is Stonehenge. It has a bit of a tooth, but I like the softness of it.
You can also use hot pressed watercolour paper too or even illustration board. The are a bit expensive though and you may not want to buy a whole sheet (22 x 30) to experiment with. Sometimes if you ask at an art store they will provide you with a sample piece for you to try.
Use the best paper you can afford. You want your masterpiece to last as long as possible and the surface to be able to hold as many layers of graphite as you need to render your work. It isn't a saving to buy cheaper paper. Its fine for sketching or mapping out drawings, but never is a wise choice for your final drawing. Most inexpensive papers are not acidfree and will fade and yellow over time. Also the tooth of the paper is minimal and you'll get that hard shiny surface sooner than you anticipate as the surface becomes clogged with graphite.
maurice
Nov 26 2006, 10:20 AM
Jeanette
Again tnaks for the advice - I have decided the only way to find out is to experiment with different papers so I am going to try the Bristol smooth and compare the results with what I am using at the moment - my pencils are Staedtler 2MM Mech pencils with Staedtler leads 4H to 4B so they shouls be fine
BY the way I am amazed you have time to draw with the amount of posts you must get through
Cheers
Maurice
QUOTE(IslanderNL @ Nov 26 2006, 01:37 AM) [snapback]5800[/snapback]
Maurice, it could be the paper, it could be the pencil too. What kind of pencil are you using? Some brands that are inexpensive have inferior mixes of graphite and clay in them and sometimes hard grains occur in the lead and make drawing and shading difficult. that doesn't mean you should rush out and buy the most expensive pencils around but you should bear in mind that your drawing is only as good as the tools that you use. That includes pencils as well as paper.
The paper that I recommend to my students to use for portraiture is Bristol Smooth or vellum. It provides a good surface that allows enough layers of graphite to build up your darks. Another personal favourite is Stonehenge. It has a bit of a tooth, but I like the softness of it.
You can also use hot pressed watercolour paper too or even illustration board. The are a bit expensive though and you may not want to buy a whole sheet (22 x 30) to experiment with. Sometimes if you ask at an art store they will provide you with a sample piece for you to try.
Use the best paper you can afford. You want your masterpiece to last as long as possible and the surface to be able to hold as many layers of graphite as you need to render your work. It isn't a saving to buy cheaper paper. Its find for sketching or mapping out drawings, but never is a wise choice for your final drawing. Most inexpensive papers are not acidfree and will fade and yellow over time. Also the tooth of the paper is minimal and you'll get that hard shiny surface sooner than you anticipate as the surface becomes clogged with graphite.
J-Lynn
Nov 26 2006, 04:16 PM
I just want to know about red in colored pencils. All of the pencils I have are w/c pencils but none of the real reds will lay down much color at all. Is this a common trait for all red pencils or are watercolor pencils just like that - maybe because the color gets so vivid when wet?
J
Venus
Nov 26 2006, 06:45 PM
J-Lynn..you know thats a good question and you would think I have used red alot with using water color pencils as much as I do and exspecially since I do alot of flowers but I have yet to do a red flower. I decided last night though I wanted to do one of my draw challenge pictures the one with the dolphin vase in the water color pencils so I guess we will see how it turns out because there is ALOT of red in it. Did you ever get your Inktense pencils yet? I still can't find them.
J-Lynn
Nov 26 2006, 07:23 PM
Venus, I was doing the dolphin vase in cp but just could not get any good reds & I must have at least 4 brands of w/c pencils (all but the Inktense are cheapies though!) The Inktense red was the worst, believe it or not - I couldn't get much color from it at all.
No, still have not received the full set of Inktense pencils. They're supposed to ship after the 28th of this month. Seems as if I've been waiting forever for them!
Will probably post the dolphin vase (even though it's awful) just to participate in the challenge. Won't have time to do much more until maybe tomorrow.
Thanks for responding.
J
IslanderNL
Nov 26 2006, 08:46 PM
I can only give a few suppositions to why your red w/c pencils don't lay down much colour J-Lynn. Is it only the reds that you have this problem with?
The make up of w/c pencils tends to be pure pigment, sometimes combined with something such as graphite ie Graphitint w/c pencils, while coloured pencils are a pigment/wax base.
Watercolour pencils tend to be harder so that the richness of colour doesn't show but of course will when you add water to the pigment. Coloured pencils, such as prismacolor, depend on layers of colour to bring out tones and richness of depth.
So layering colours with watercolour pencil will generally be softer, paler tones until you add water. For a true coloured pencil drawing you need the pigment/wax combination to get the colours that you want.
I have used both w/c pencils and prismacolors and haven't had a problem, aside from the paler version in a w/c pencil.
This probably doesn't answer your question about red pencils, however I do know that sometimes pencil cores have problems and some colours are notorious for inconsistances, such as indigo blue in prismacolors. Perhaps the red that you are trying may have a similar problem? Have you checked the maker's website to see if they have a solution?
Venus
Nov 27 2006, 06:14 AM
J-Lynn if you go to the draw challenge you will see I had alot of problems with all of the red in the vase ref. photo too. I even used blue to make a dark shadow around the vase so that my pretty rose would show up because after i added the water it all got washed out bad. I don't have any large sets of water color pencils so I don't know if there are that many ifferent reds in the larger sets, hopefully I can find out sometime soon being as how I really want atleast a 72 set. I am looking for bargins as we speak. Dick Blicks had some good deals for christmas but alot of them were sold out when I went to look. I do know that crimsom red and the other red blend together to look the same to where I added white and pink to try and get a difference in the colors. Sorry tried to help.
racedolls
Nov 28 2006, 11:42 AM
i was wondering-- when you use watercolors (pans or tubes) do you layer your portraits(skin tone) in the same way as you layer with color pencils? thanks
Lori
IslanderNL
Nov 28 2006, 12:16 PM
Yes, Lori, its the exact same principle. Layering from light to dark.
Watercolour takes a bit of planning and careful use of colour as well as the amount of pigment that you use on your brush and whether the colour you're using has transparency or not. (some colours are more transparent than others).
Here's a self portrait that I did in watercolour that shows the layers, as well as hard and soft edges.
[attachmentid=1000]
J-Lynn
Nov 30 2006, 07:14 PM
In case you don't recognize it, this is the cat from WC WDE this week. I belong but don't participate there but this cat really intriqued me and I wanted to try it in the new Prismas. I've been working on this since about 8 am with seemingly little progress! My question is (should I ever get to a finish point!) - how do I add the beautiful whiskers? Also, my pencil set has fairly limited colors so I used a blue in combination with the black in order to get a dark enough color. Are colored pencils like w/c where it's a no-no to use black or white? Should I have tried to leave the white of the paper for the whiskers?
[attachmentid=1034]
I have a long way to go before this can be called finished but I've worked on it longer than many drawing projects so I'm pleased with myself for that! I'm asking about the whiskers now so I'll look forward to trying whatever you suggest & will maybe finish this! lol
J
racedolls
Nov 30 2006, 09:41 PM
jeanette that self portrait is beautiful. i just love the look of watercolors. i have not done a self portrait so i think i might try one in watercolors. wow i just really love that.
j-lynn that cat is super good. you are doing a great job with the color pencils. it just amazes me what you guys do with color. i am still practicing, layering those colors. i do think i am improving though. wow they both look so good. keep it up j-lynn you are doing great.
Lori
IslanderNL
Dec 1 2006, 12:00 AM
I do recognize that cat J-Lynn but haven't had time to tackle it. I'm glad you did and you've done a beautiful job with it too.
White whiskers can be done in two ways. First, before you add any colour to your drawing, you can draw the whiskers with something that doesn't make a mark but that leaves indents in the paper. When you colour over the indented lines, the whiskers will magically appear!
Or, as in this case, you could add the whiskers after you've completed the colour with a fine liner brush and white gouache or acrylic.
Black and white have their place but sparingly, as they are rather stark on their own. You can build your darks up with a blend of other colours and if you really like the medium, I'm sure you'll find a host of other coloured pencil shades to add to your original ones.
Thanks Lori. Watercolour portraits, like all watercolours take lots of planning. I probably spend more time thinking about where I'm going to put the brushful of paint/water than I do painting. And there is an art in knowing just when to add more layers depending on how damp or wet the paper is or if it should be dry. Lots of hairdryer use in my watercolour to speed up the process. lol
Do try some colour Lori, I know you'll enjoy the process. Just take your time and think it out before you add your layers and you'll do fine.
J-Lynn
Dec 1 2006, 11:57 PM
Jeanette, I love your self-portrait also but never know exactly what colors go in those layers! I can "see" colors in a person, but they don't translate well when I try to use them in a painting! Any tips there?
Thanks for the help on the cat - haven't had a chance to do much more to it - I can see where I'm way off in several places too.
Also, re: the red w/c pencils. None of them would lay down much color at all & the Inktense pencil was the worst. I ended up using red w/c crayon to get a lot of the red in the challenge dolphin vase. The rest of the w/c pencils seemed to do ok but it was just the red ones that made very faint color.
Thanks again for your help.
Lori, I saw your portrait in the current challenge thread & thought you did a bang-up job with it. I think you'd really like watercolor - they can be a little frustrating but like Jeanette said, do all the planning ahead of time. I know you can do it.
J
J
IslanderNL
Dec 2 2006, 01:56 AM
Well I guess I use a sort of formula of skin tones which varies dependent on the colouring of the individual. I also do swatches on bits of paper to experiment with colours and make sure there are no major surprises!
I keep the pinks, yellows, ochres and reds for most skin tones in light and add shadows in blues, purples, greens. But it is not an exact science. Its another one of those things that I need to do a WIP of and show the colours and steps perhaps.
3lansir
Dec 2 2006, 10:21 PM
Just a bit of transfer trick that I like to do, if you have access to a photocopier, photocopy your sketch (if you are fussy about the orientation, mirror the image on the photocopier) place it on the surface you want to work your final on with the ink of the photocopier down so its in contact with the new surface, and use acetone or nail polish remover to wet the back of the photocopier paper. Use a roller (baking one will do) and really really roll it out, give it as much pressure as you can give. Then take the photocopy page off, and you will have transfered your image on to your final stock. It will most likely be quite a faint greyish copy, so you will have no problem hiding the ink when you draw over it.
kim1963
Dec 3 2006, 12:26 AM
wow ...the tricks you learn on here ...3lansir how did you ever find that it worked ?
CMMorgan60
Dec 3 2006, 09:20 PM
QUOTE(IslanderNL @ Nov 7 2006, 07:48 PM) [snapback]4546[/snapback]
Any more burning 'how to' questions?
This 'how to' question either has an easy answer or a hard one....I am working on the 'drawing from life' list and one of the things I am drawing (or trying to) is an old baseball cap. It is well worn and elderly so the fabric has a really interesting drape to it. Especially with some strong lighting to set it off.
I don't have much experience drawing drapery (fabric). Does Brenda have a lesson(s) on drapery? I am looking, but I am not finding one.
Barring that, does anyone have a good web site that covers it?
Thanks,
Chris
painter48
Dec 3 2006, 09:42 PM
This is a scrapbooker's trick to transfer images and might not work with a laser photocopier - you might have to use one of the old time copiers that use the messy ink cartridges. They are not as accessible as they used to be. They are mostly being replaced by the newer laser copiers. You can find ways to transfer images for collage in many scrapbook books and magazines.
J-Lynn
Dec 3 2006, 09:51 PM
Cool trick, Sam! I don't have a copier here at home but could do it at work just to try it out!
Chris, there's a tutorial at either WetCanvas.com or ConceptArt that has a decent tut for fabric folds. My son in law's mother passed away and I'm only on for a few minutes this evening. You could do an internet search for "draped fabric drawing tutorial" or "drawing folded fabric tutorial" or something like that. Also, the best thing to do is take a light colored, plain sheet or towel or some other plain fabric & arrange it so that it drapes & just study it. You can see the dark areas & the highlights & how the different values fall within the folds/drapes. You could even take a digital photo & convert it to grayscale just to study & get a feel for the subject. Ruffled flower edges are done the same way as fabric so you could even study a petunia for example (if you aren't having winter! lol)
I'm sure Jeanette will be along to offer other advice! Just jump in & try it &, as good as you are, I'm sure you'll master it quickly.
J
IslanderNL
Dec 4 2006, 12:34 AM
I haven't seen a drapery lesson that Brenda has done yet Chris. J-Lynn's advice was spot on. Try WetCanvas or search online for a tutorial in drawing drapery or folds.
Its a matter of careful observation in rendering materials to get the dark valleys and highlighted peaks to look just right.
Here's a baseball cap that I did awhile ago one lunch time at work. Its a work promotional cap and not old by any means but the light was right and I enjoyed the exercise, done in pen and ink in my moleskine sketchbook.
[attachmentid=1101]
CMMorgan60
Dec 4 2006, 01:11 AM
QUOTE(IslanderNL @ Dec 4 2006, 12:34 AM) [snapback]6463[/snapback]
I haven't seen a drapery lesson that Brenda has done yet Chris. J-Lynn's advice was spot on. Try
Here's a baseball cap that I did awhile ago one lunch time at work. Its a work promotional cap and not old by any means but the light was right and I enjoyed the exercise, done in pen and ink in my moleskine sketchbook.
Thanks guys. I will take a look at WetCanvas and see what I can find.
Chris
kim1963
Dec 4 2006, 01:24 AM
Nice job on that hat Jeanette ....I think I will try the hat also .. but I want a ragged one so I can do the fray around the brim.
paulette4
Dec 4 2006, 03:24 AM
drawing clothes and folds Hi, I bookmarked this page from another thread. I'm sorry I forget who found it so I can't give credit where due, but this was a good tutorial on drawing clothes and folds.
Paulette
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