Mike Sibley Comment Posted Nov.1st, 2012, viewed 116 times
EXERCISE 3/1 DARKS
Very good, Uta! And in the right place :o) Strong darks are good - assume that your drawing has a very dark tone or black in it. As soon as that dark tone has been drawn you immediately determine every other tone within the drawing. If that "dark" is light you will force yourself to work with a palette of light greys, and that usually leads to a flat drawing. Setting a wide range of tones, by making your darks dark will help with three-dimensional rendering and add visual impact to your work.
There are a few light patches in your shading but they probably only show up on my monitor and not in real life. However, monitors do show what is really there and being aware of it allows you to push your shading one step further. In real life, your eye will read an average value from your shading. It won't see any flecks, white dots or narrow gaps, but it will be aware of them - the results is an average tonal reading that may be less intense than you intended.
EXERCISE 3/2 DARK to MID (2H layering)
This is good woodgrain, and the removal of white gives it a very solid appearance.
Do be careful to not over-detail wood in a drawing. Here, where it's isolated, it works well, but wood rarely displays a very pronounced grain. Wood tends to be a secondary element within a drawing so take care that it doesn't dominate the subject.
EXERCISE 3/4 MIDDLE TO LIGHT
I think this has worked for you but I can't see it clearly. It is rather paper/pencil dependant, so it may work better when you try your new paper. However, you have created some lovely textures in this. The human brain always seeks understanding, so I can see subtle crests and hollows with shadows and highlights... even if you didn't intend them :o) That's one of things I like about creative shading - the result is very often surprising but effective.
EXERCISE 3/5 MIDTONES - LIGHT VALUES (stump)
There is a lot of visual interest here without any of it being clearly defined - exactly what was required. This could be either an inside or outside corner, and it works in either case. Drawing with a stump or tortillon is often a very rewarding and free way of working, and well worth experimenting with as a viable drawing method.
In response to image: