Mike Sibley   Comment Posted Apr.27th, 2012, viewed 129 times

Admittedly this is a boring exercise, but it forms the basis of most forms of shading. Consistency is vital and this exercise was designed to show you that. Any variance in the gaps between lines, the pressure you apply to lines, or the straightness of the lines is immediately apparent, as they always attract unwanted attention.

There are a few inconsistent lines here and but gaps between them are reasonably consistent. This technique works best if the gaps are the same width as your lines - that way you remove 50% of the white in the first box and then incrementally reduce it further as you progress right. The only "problem" here is (even after I'd adjusted your scan - see below) all the lines are rather light. As a result, although your boxes darken to the right correctly, they are all rather pale.

This is a technique you'll probably never use in its purity, but if you imagine shading this way with no gaps at all, you'll see that it does form the basis for the majority of shading techniques, so it's one you need to be aware of. And to be aware of the need for consistency too.

Personally I've used a looser version of this technique for building up skin tones - with very narrow or no gaps. In that situation I feather both the ends of all the lines so I can shade in sections with no visible joins, and they blend seamlessly. It gives excellent tonal control.

You've produced a good and even range of tones - just a bit light. But I'm pleased to see you producing darker hatched tones in the drawing of your pen. That was a good idea and it's worked quite well.

In response to image:

Guido Santan... Apr.25th, 2012
Image added to Drawing from Line to Life: DG104:3 Shading:

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