Posted Dec.6th, 2012, viewed 128 times
<< I think it's not difficult to see that came to my limits and reached a deadlock. In the moment I just see that don't looks like hair or fur but dont know why. >>
I think "why" is probably because I deliberately imposed a larger than life scale, especially for exercise 2. I wanted you to be able to understand the principle without having to worry too much about what it actually looked like.
I think you're getting there but have a little way to go, but don't expect instant results. Indeed, this may never work for you, but you'll find your own way, hopefully with my method as a basis. It works well for me so I wanted to pass it on to you, but I've been doing it for over 30 years and it's become second nature to me.
You're nicely tapering both ends of your marks, and you are creating a resemblance of hair that almost works. I think the problem is that you might be working too fast (you can speed up later once you get used to this method). Your marks look like dashes, which is what leads me to believe they are quickly drawn. That said, I do correctly read the white as being hairs and not the dark lines, which is as it should be.
Some form V-shaped voids between them, and that's the real aim. What matters is the spaces you are leaving and not the marks themselves. Ideally your marks should alternate their angles. For example, if the first mark goes downhill from right to left, the next should travel downhill from left to right, so they meet to form a tapered white gap between them. Keep repeating that and you'll produce a sort of saw-tooth line of tapering white shapes that will ultimately become the hairs. You can fill in between the "hairs" at any stage. As I explained, the trick to making this work is to look at the white you are leaving and not the lines you are drawing. Once you get used to imagining the next white shape on your paper, you'll find yourself effortlessly drawing your dark marks around it.
This exercise is worth persevering with. With the curving lock exercise last week and the next exercise, these three form the basis of almost all drawing of hair. Also, being able to split detail from three-dimensional form can often help you produce more realistic drawing, and it makes life easier and more manageable. Trying to handle both together can be quite a problem at times, especially in small scale drawings or distant subjects.
Excellent dark shadows coupled with carefully crafted locks. If your darks in the top layer had been as dark the lower one it would have worked even better.
As I said, I made this exercise larger-than-life to enable you to better understand the process. It can, of course be used at this scale, but only if you refine and thin the ends of the hairs to a more realistic fineness.
The most important aspect of both of these exercises was the ability to see and create white shapes as you drew dark lines. When you draw, you should always be as aware of the white you are leaving as you are of the marks you are drawing - they are equally important. I can see from this exercise that you have that ability, and that you were seeing in three-dimensions what you were drawing. This has very believable three-dimensional form.
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