Hi everyone, sorry I'm late to the party and thanks to Lauren for putting this together.
, good drawings. For the first I think you could have made her taller (or thinner), I mistake I also made. Also there is more of a leaning or change in direction of the legs particularly at the lower area. Practice makes perfect. With the second for the hands start with an overall glove shape incorporating all the fingers. That should help.
Not sure if it is cheating Sonni
. The shapes look good. I agree that Prud'hon mostly is known for the hatching technique with the lines running along the form (other layers have the cross hatch at an acute angle to that).
Very structural Prosenjit
. The odd thing about your comment to John about that shadow is that you could apply some of it to the original, not sure why he bothered since it doesn't follow the form at all (maybe he added it after the model had left).
, good work so far. It is interesting with this whether to copy the drawing/composition, the technique or both.
Hey there lurker (Trevor
), you've got some good shapes there.
, super drawing. It would be interesting to see you approach this the Prud'hon way. It is also time consuming though.
, Might you finish the painting? Although it is a bit pink the tonal values look good. Maybe a green wash would fix it?
, good drawing I think you got most of the anatomy spot on. I can see your tonal notes at the bottom left which is a good idea.
good drawing, I like your colours. It is very time consuming isn't it.
Lovely drawing Lydie
, I like the rhythm you've captured with the sweep of her legs and arms. Very classical.
OK my first attempt. It is not finished but I'm going to start again as I've damaged the paper too much to take any more layers (particularly on her face which needs to shrink a bit). This is on A3 paper.
1. Make sure the initial drawing
is accurate. It is very difficult to rework once you've started the tones. Here I knew the head was too big (and it got bigger as I worked) but didn't change. Also I didn't notice the slope of her right leg to start with.
. The paper I chose (Tiziano pastel paper from Fabriano) was too textured to get the lines to work consistently. I also found the stumping didn't work too well as the characteristics of the black and white contes (or rather Caran d'ache hard pastels) were very different. With the softer black the stumping intensified the tone as it filled the weave of the paper. With the harder white most of the tone was removed even with a light touch. I ended up using a putty rubber instead on the black.
. Coupled with accuracy
. I think this was over 2 hours or so but I did try to hurry things along making mistakes and also damaging the paper.