![]() ![]() A few slanted lines suggest the collar, The features are hung on the horizontal guidelines within the egg. With long, curving lines, he draws the sweep of the hair that surrounds the entire head and neck. He defines the curves of the cheeks, the squarish shapes of the jaw, and the rounded chin. Step 2, Over the guidelines of Slep ln the artist constructs the actual shape of the head and hair. Some arc tall and relatively slender, while others are rounder, like the soft form of this woman's face. There are subtle differences in height and width. By now, Step I is familiar: the classic egg shapeT cylindrical neck, and vertical and horizontal guidelines to locate the features, However, as you look back at the various demonstrations you've seen so far, notice that not all the egg shapes are exactly alike. This type of paper has a hard, delicately textured surface on which chalk can be blended very smoothly- The tough surface will take a lot of tubbing from a fingertip, a stomp, or an eraser. The artist draws this portrait of an Oriental woman with a stick of hard pastel on a sheet of charcoal paper. Now try a portrait that consists almost entirely of soft, blended tones. ![]() Step 1- Chalk smudges so easily that you can blend it like wet oil paint. The point of the chalk darkens the contours of the eyelids, plus the tones of the eyebrows and lips+ A kneaded eraser brightens the lighted patches, and a razor blade scratches highlights into the eyes. In the same way, he adds tone to the neck, hair, car, and col lar. The artist presses his fingertip against the sandpaper pad, picks up some chalk dust, and gently spreads this tone over the shadow planes of the face: the forehead, cheek, jaw, neck, eye sockets, nose, and lips. The side of the chalk darkens the hair and shoulders with broad strokes, which arc quickly Mended with the thumb. Then he continues to strengthen the darks by adding clusters of short parallel strokes to the eye sockets, the lip of the nose, the brow, and the check, blending these with a fingertip or a paper stomp. He defines the nostrils and the shape of the upper 3ip, darkening the corners of the mouth. The artist then draws the eyelids more exactly, adding the pupils and the dark accents at the corners of the eyes. Step 6, The sharpened end of the chalk defines the outer contoujs of the face more precisely: compare the check with Step 5. With the side of the chalk, he adds a dark tone above the head and then blends this with his thumb. Turning the stick of hard pastel to the opposite end and working with the flat tip, the artist adds dark strokes to the hair, eyebrows, eyes, cheek, and jaw, sometimes blending them with a fingertip and sometimes leaving them alone. The sharp point of a stomp gets into smaller areas such as the eyebrows and eyes in order to fuse the strokes. A few broad sweeps of the thumb convert the strokes of the hair into tone. You can still see some of them, in the same way, he gently merges the strokes within the eye sockels, along the side of the nose, and beneath the nose and lower lip. He gradually blurs the tones on the side of the brow, cheek, jaw, and neck, but doesn't eliminate all the strokes. Moving a fingertip gently over the surface of the drawing, the artist blends the strokes of Step 4 selectively. Then, sharpening the stick once again, he adds more detail to the eyes and ear. ![]() With the flat side of the stick, he blocks in the tonal areas on the hair. The artist fills the eye socket with tone places the shadow beneath the nose: fills the upper tip with shadow and indicates the deep shadow beneath the lower lip. The tone on the slanted side of the nose is rendered with slanted lines. Notice how the strokes change direction as they move downward from the brow to the cheek to the jaw, following the direction of the form. The rectangular stick of hard pastel is still fairly sharp, and so now the artist blocks in the tonal areas with clusters of parallel strokes. But the line can be easily redrawn in the next step. On the hard surface of the paper, chalk sometimes smudges or even disappears this has happened to the line of the jaw just to the left of the mouth. He squares up the corner of the jaw and then moves upward to draw the internal detail of the ear. The artist adds a curve just above the chin to define the bony shape. Now you see the familiar wingtike shape of the upper lip. ![]() He draws the slender eyelids and constructs the blocky end of the nose-with the one nostril wing that shows in this three-quarter view. Erasing the guidelines of Step I, the artist begins to define the features more precisely. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |