Mike Sibley   Comment Posted Jan.22nd, 2013, viewed 131 times

I think you saw this drawing and the work involved and really let this overwhelm really you. If you'd put the same amount of work into one lock at a time, the result would have been much better. As with the last exercise, you made life very difficult for yourself by not using rich darks and sharp edges. Both would have created the depth that is missing here. Again, one real problem is the massive amount of white holes throughout this drawing that severely dilute your darks. Strong blacks in the deepest depths would, as I said, have added more depth but they would also have increased the intensity of your highlights because of the greater overall contrast.

One or two locks possess nice highlights and they suggest some three-dimensional form. Apart from those, I can't feeling that you rushed your way through this, attempting to suggest rather than fully explain. As a result, it lacks depth and looks flat and dull.

Ideally, you should have drawn this one lock at a time. That would have removed any worry about the amount of work involved, and allowed you to concentrate solely on the single lock. Instead of almost just filling in the background, you would have been fully in control.

1. First draw the background darks around the lock (Use 2B and burnish with HB is holes are appearing - the darks must be solid). Now you have a value that you can refer every other tone to.

2. Complete the midground areas either side of the lock, keeping the edges of the lock sharp. Now you have a pure white foreground lock surrounded by completed drawing. It exists in a local environment that you can react to as you draw the lock.

3. Work on the lock itself. If it emerges from beneath another lock, establish that lock's shadow, or draw the lock so it emerges from the shade. If it has a highlight, use your Week 5 experience and work from both ends towards to the centre.

4. Complete the drawing lock by lock until it's done. That way you'll understand how that ONE lock relates to those around it - it may cast a shadow, it may have shadows cast upon it, it may emerge from the shade, or even disappear into the shade. You cannot work that out if you try to draw many locks at the same time.

I think you just need to take a deep breath, think about what you are about to draw, and then tackle it one tiny piece at a time.

Looking at an overall section of a drawing, and the amount of work involved, can be terribly daunting and depressing. I've tried to show you that breaking it down into tiny areas overcomes all problems. You need to take an overview first, so you know what you're aiming for and, from that point onwards, just chip away at it one piece at a time. And, above all else, try to imagine what you are drawing is real - it's never a drawing exercise, you're recreating a living animal.

In response to image:

Maggie Jan.21st, 2013
Image added to Drawing from Line to Life: DG201:6 Drawing hair:

Sign in to post