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  #31   Report Bad Post  
Old 06-17-2019, 11:47 AM
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brownblackandwhite brownblackandwhite is offline
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Re: Pretty in Pink

I am working the background and the mid ground leaves at the same time.
I think it will be quicker this way ... I will make adjustments to both parts of the drawing concurrently.
I am concentrating on the lower left quadrant keeping in mind my process of working dark to light.

I experimented with a brush to work the pigment into the tooth of the paper in the background. I think it worked reasonably well. I think the more layers are built up the more effective the brush technique.

Thanks for looking
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  #32   Report Bad Post  
Old 06-19-2019, 11:57 PM
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RobinZ RobinZ is offline
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Re: Pretty in Pink


Question: what do you use for your intricate drawing?

I also wanted to throw out there that when I need to draw or paint an intricate pattern on a dog or cat, I used a little square cut out to keep me on track. I just work it like it's text, move left to right, then down to the next line, move left to right. I don't follow my references totally as far as detail, but if I didn't do that at least the first go-round, I'd be hopelessly lost. (Fact, tried it!)
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Old 06-20-2019, 12:27 PM
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brownblackandwhite brownblackandwhite is offline
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Re: Pretty in Pink

Thanks Robin.

I am not sure if the following will answer your question, but I will share some things that come to mind.

This current project is 18" x 18". I have taken my photo to Staples, or Business Depot for example, and made a print that is full size 18" x 18". I find it much easier to work 1:1 in terms of creating the contour or outline drawing. And by enlarging the photo I can see detail (hard edge) more readily.

Having said that, I use a smaller print of the photo as a reference for color and value because the reference is sharper and more saturated color. I think in this case I printed at 11" x 18".

It's not expensive ... maybe $5 total ... and then I have some good reference material.

I like to work dark to light.
So in terms of the flower, I established the darkest darks.
I used one pencil (hot pink) and applied this color wherever I saw the darks in the reference.
Then I used the same pencil with lighter pressure to map out the the next darkest areas ... and so on ... and so on.
This was just to establish a foundation of uniform color ... after all the flower is pink ... and I don't want to introduce too many colors or it will look animated.
Once I am satisfied with this layout ... then i darken some areas further with other colors such as lavender and greyed lavender and even dark purple and mulberry.

I find that by establishing the dark sections first, I can work around them by comparing value and location. So I don't work systematically left to right and top to bottom. I work by value.

I think this may be the most useful piece of information that I can share with you.

I have used your method of a picture frame to focus on a specific area. I think it is very useful.

I find in general, the most difficult part of the exercise is remaining focussed. I find it difficult to move from reference to drawing over and over again. My eyes get tired.

And I think that is where your picture frame can save a lot of eye strain.

One thing that I do is leave my index finger on reference photo so as I shift from reference to drawing ... I am returning to the same spot all the time. I just find this faster.

I think this project is much easier than drawing wildlife. I have hard edge to work with and this helps so much to locate where you are in the drawing. I think drawing fur and dealing with soft edge must be so much more difficult.

I can only suggest that with animals you would need to find some other markers to help you locate where you are in the drawing process. Maybe there are distinguishing clumps of hair and color shifts that can be identified to help with location.

And I think you know much more about this than I do. I am sure that you do it already.

Take care
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