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Saturday, May 31, 2014
Sunday, March 16, 2014
Self-Portrait Finished
This is pretty much where I left off in the last post - gently building up the tonal areas to create the effect of bright sunlight on the face...
I'm using a black Bic Biro pen for this portrait, and it can work much in the same way as a pencil: you can alter the darkness of the pen lines by applying a range of pressures to the pen as you draw and you can build up subtle shading by using layers of cross-hatched lines. It's this technique I'm using to create the effect of solid form, both in the face and the crash helmet.
With the slight hint of the right side of the face drawn in so that the face looks washed with light , I move on to the hair. The hair is blonde and in the sunlight this makes it look white, so I need to use the whiteness of the paper to get the lightest possible effect.
To do this I pencil in the white lines for the hair and then work around these pencil lines gently with the pen to build up the dark behind them. When I've got the effect I want I rub out the pencil lines and the whiteness of the hair stands out. This is also helped by framing the face with the black of the helmet.
The fabric of the liner of the helmet is created using the same technique as that used to create the face; gently applied lines of pen one on top of the other as well as applying extra pressure in the ares of shadow. On the other side of the helmet the shadow is more intense.
The trick now is to make the rest of the drawing look like different materials to the face, by that I mean the plastic visor, the fabric of the liner, the hard, dark plastic of the crash helmet, all with the same pen. To do this I pay real attention to the lines of reflection on the plastic as well as how the light is absorbed to a certain extent by the other plastic around the helmet.
Although the original sketch shows the whole of the crash helmet, as I work through the drawing I realize to illustrate the whole crash helmet would overpower the portrait, so I make the decision to show just the nearest outline to the face, to frame the face and keep the face as the focal point.
And that's it, the finished portrait, a true likeness using just a Biro pen for the whole drawing, combining my two passions; art and motorcycles!
I'm using a black Bic Biro pen for this portrait, and it can work much in the same way as a pencil: you can alter the darkness of the pen lines by applying a range of pressures to the pen as you draw and you can build up subtle shading by using layers of cross-hatched lines. It's this technique I'm using to create the effect of solid form, both in the face and the crash helmet.
With the slight hint of the right side of the face drawn in so that the face looks washed with light , I move on to the hair. The hair is blonde and in the sunlight this makes it look white, so I need to use the whiteness of the paper to get the lightest possible effect.
To do this I pencil in the white lines for the hair and then work around these pencil lines gently with the pen to build up the dark behind them. When I've got the effect I want I rub out the pencil lines and the whiteness of the hair stands out. This is also helped by framing the face with the black of the helmet.
The fabric of the liner of the helmet is created using the same technique as that used to create the face; gently applied lines of pen one on top of the other as well as applying extra pressure in the ares of shadow. On the other side of the helmet the shadow is more intense.
The trick now is to make the rest of the drawing look like different materials to the face, by that I mean the plastic visor, the fabric of the liner, the hard, dark plastic of the crash helmet, all with the same pen. To do this I pay real attention to the lines of reflection on the plastic as well as how the light is absorbed to a certain extent by the other plastic around the helmet.
Although the original sketch shows the whole of the crash helmet, as I work through the drawing I realize to illustrate the whole crash helmet would overpower the portrait, so I make the decision to show just the nearest outline to the face, to frame the face and keep the face as the focal point.
And that's it, the finished portrait, a true likeness using just a Biro pen for the whole drawing, combining my two passions; art and motorcycles!
Thursday, February 27, 2014
Self Portrait
It's about time I did a self-portrait, but rather than the usual style I've decided to do mine also portraying my other passion in life - motorcycling. So I'm doing a portrait of me in my crash helmet!
As with the other portraits I start with a pencil outline. This is done on a sheet of A3 cartridge paper with a mechanical pencil which has an HB 0.5 lead.
Once the pencil outline is correct I switch to a Bic Biro pen, this one has black ink. This is quite scary, as there's no room for error when drawing with ink; unlike pencil I can't erase the mistakes. But I draw with a Biro pen everyday in my sketchbooks when I'm sculpting and I'm actually a little more comfortable with it than with a pencil. So here goes!
I always start with the eyes and I start with the darkest part of the eye, the pupil, and work outwards from there. One side of the face is in sunlight (notice the line down the nose denoting the change from light to shadow) and the eyes are squinting from both the sun and smiling, so there's not much light getting into the eyes. So the eyes are quite dark and they'll be part of the darkest areas of the whole portrait. The shadows in the nostrils are also just as dark, so I put those in too, to help me balance out the dark areas.
I start shading in the side of the face that is naturally in shadow so that I can build up the gradual layers of tone to create the three-dimensional effect. I don't tend to work in just one area and move outwards; I tend to hop around from area to area, building them up systematically as I go. This works for me, but it's just personal choice.
As I hop around the drawing I try and link the areas as quickly as possible, so that one section doesn't get overworked, making the whole picture too dark. It also helps me keep the features in proportion to each other by stepping back and checking it regularly and that helps to prevent any distortion by concentrating too much on one spot.
I'm using a cross-hatching technique, much in the same way as a pencil. I can apply a range of pressures to the pen from a light to heavy line as I put it onto the paper and this can create the same tonal effect as a pencil. With practice it's quite easily to shade with a Biro pen, but it needs confidence as one mistake can ruin the whole sketch!
It's the same process as creating Carl's portrait in the previous blog post, but the effect can be a lot bolder and I think it'll work well with the black plastic of the crash helmet. We'll see!
As with the other portraits I start with a pencil outline. This is done on a sheet of A3 cartridge paper with a mechanical pencil which has an HB 0.5 lead.
Once the pencil outline is correct I switch to a Bic Biro pen, this one has black ink. This is quite scary, as there's no room for error when drawing with ink; unlike pencil I can't erase the mistakes. But I draw with a Biro pen everyday in my sketchbooks when I'm sculpting and I'm actually a little more comfortable with it than with a pencil. So here goes!
I always start with the eyes and I start with the darkest part of the eye, the pupil, and work outwards from there. One side of the face is in sunlight (notice the line down the nose denoting the change from light to shadow) and the eyes are squinting from both the sun and smiling, so there's not much light getting into the eyes. So the eyes are quite dark and they'll be part of the darkest areas of the whole portrait. The shadows in the nostrils are also just as dark, so I put those in too, to help me balance out the dark areas.
I start shading in the side of the face that is naturally in shadow so that I can build up the gradual layers of tone to create the three-dimensional effect. I don't tend to work in just one area and move outwards; I tend to hop around from area to area, building them up systematically as I go. This works for me, but it's just personal choice.
As I hop around the drawing I try and link the areas as quickly as possible, so that one section doesn't get overworked, making the whole picture too dark. It also helps me keep the features in proportion to each other by stepping back and checking it regularly and that helps to prevent any distortion by concentrating too much on one spot.
It's the same process as creating Carl's portrait in the previous blog post, but the effect can be a lot bolder and I think it'll work well with the black plastic of the crash helmet. We'll see!
Tuesday, February 18, 2014
Carl's Portrait Finished!!
Okay, this could be a mammoth post - the portrait is finished, and there's been a lot of work done since the last post... so, here goes...
With the main part of the face almost complete, I start work on the hair, the beard, and the helmet Carl is wearing as part of his re-enactment costume.
The hair is built up much in the same way as the mustache; deliberate pencil strokes put down in the direction of the strands of hair themselves. All the time I'm adding pencil marks, I bear in mind where the light is hitting the hair and make sure to lighten the pencil strokes in this area.
You'll also note I have a sheet of paper that lays on top of the drawing - this is to stop my hand smudging the pencil that's already down on the paper as I work on the other side of face. Carl's hair is dark, and as this part is on the opposite side to the intense sunlight, it will be the largest dark part of the image. To make sure I don't go too dark, I start work on the metal helmet he's wearing. By working round the whole image like this I can make sure that one part doesn't become too dominant in the balance between light and dark, thus keeping the focus on the main part of the face.
I mentioned in the last post about using a Q-tip or cotton swab for blending the pencil to create a softness, and I use this method quite heavily in the creation of the helmet. I need to ensure the helmet has a different textural look than to the face and hair. The metal, although dented and scuffed a little, is still smooth and somewhat reflective, so I carefully blend the pencil and add detail to create the smooth but worn look of the metal.
The left side of the drawing is pretty easy to work on; there's no direct sunlight on the hair, so I just need to capture the texture of the hair, but it's a totally different story on the other side of the face...
...the sun is highlighting the hairs on Carl's beard. There's two ways I can deal with this. One is to create the beard and then lift off the pencil marks to create the highlights with a putty rubber. But the detail is too small for the putty rubber and it lifts off too much of the surrounding pencil. The other way is to keep the paper white in the areas of the individual hairs. Again, the detail is small, so I carefully put down the marks for the beard whilst trying not to block out the white paper where I want the sunlit hairs to be. This takes time, patience and a very steady hand!
But bit by bit the beard is created, and after stepping back several times to take an appraisal of the drawing, I reach the point where the portrait is finished...
It's a successful portrait. It looks like him, I've illustrated the sunlight on his face, I've created realistic detail in the skin, hair and metal of the helmet, and I've retained the focal point whilst still creating areas of interest around the whole face and I don't think it needs anymore work. I think Carl will be happy with it too.
With the main part of the face almost complete, I start work on the hair, the beard, and the helmet Carl is wearing as part of his re-enactment costume.
The hair is built up much in the same way as the mustache; deliberate pencil strokes put down in the direction of the strands of hair themselves. All the time I'm adding pencil marks, I bear in mind where the light is hitting the hair and make sure to lighten the pencil strokes in this area.
I mentioned in the last post about using a Q-tip or cotton swab for blending the pencil to create a softness, and I use this method quite heavily in the creation of the helmet. I need to ensure the helmet has a different textural look than to the face and hair. The metal, although dented and scuffed a little, is still smooth and somewhat reflective, so I carefully blend the pencil and add detail to create the smooth but worn look of the metal.
With the metal helmet pretty much done I go back to the hair. Finding the balance on both sides of the face is very important; by that I mean the overall composition of the portrait. The composition is the placing of the dark and light elements around the image. If one side of the drawing is too dark or too light that it makes your gaze go to just that part, then the drawing has failed. I need to make your eyes move fluidly around the drawing, seeing the focal point first and then comfortably moving around the detail, taking in the whole image, until you are drawn back to the focal point.
The left side of the drawing is pretty easy to work on; there's no direct sunlight on the hair, so I just need to capture the texture of the hair, but it's a totally different story on the other side of the face...
...the sun is highlighting the hairs on Carl's beard. There's two ways I can deal with this. One is to create the beard and then lift off the pencil marks to create the highlights with a putty rubber. But the detail is too small for the putty rubber and it lifts off too much of the surrounding pencil. The other way is to keep the paper white in the areas of the individual hairs. Again, the detail is small, so I carefully put down the marks for the beard whilst trying not to block out the white paper where I want the sunlit hairs to be. This takes time, patience and a very steady hand!
But bit by bit the beard is created, and after stepping back several times to take an appraisal of the drawing, I reach the point where the portrait is finished...
It's a successful portrait. It looks like him, I've illustrated the sunlight on his face, I've created realistic detail in the skin, hair and metal of the helmet, and I've retained the focal point whilst still creating areas of interest around the whole face and I don't think it needs anymore work. I think Carl will be happy with it too.
Monday, February 10, 2014
Carl's Portrait continued...
Only had an hour to play on the drawing board and even that had numerous interruptions from the phone! But here's the progress I made...
I'd finished working on the brow and forehead for the time being, and moved onto the bottom of the face. Carl has a very distinct smile, with a mustache and a beard so there's a lot to do here! As well as that, he's being lit by bright sunshine, so I have to pay close attention to texture, form and light.
I'm using a variety of pencil marks to create the smoothness of the skin and the roughness of the mustache. By gently laying down light, soft pencil marks and blending with the Q-tip I create the tones of the skin. The mustache is created by stronger, darker lines which are applied quite firmly in bold strokes, largely in the direction of the hairs which make up the overall mustache.
Trying to suggest the darkness of the mustache in very bright sunlight is a bit of a challenge and I do this by laying down the dark pencil lines and then using a putty rubber to lift of the majority of the pencil. It helps create some texture, a hint of what's there, but allows the lightness of the paper to show through, suggesting the sunlight. So far, so good but time's run out and I'll have to grab another hour tomorrow.
Friday, February 7, 2014
Carl's Portrait continued...
Work is just crazy busy at the moment so I was only able to grab a short while to sketch on Carl's portrait; here's where I left off from before...
The face is lit by bright sunlight, coming from the right hand side of the image, and I'm trying to keep that sense of warm sunlight flooding the face. So each stage of tonal build-up is carefully done, so as not to darken the whole portrait too much.
Using the mechanical pencil I very lightly start adding lines to build the form of the nose. To soften any lines that I don't want showing I use the end of a Q-tip or cotton swab, very gently rubbing the pencil to blend and soften the marks, but always being aware of where the darker build up of pencil is going; I don't want to distort the look of the nose. As I'm blending, if there's too much pencil on the Q-tip I just grab another one. There are different tools you can use for blending; I just find the cotton swabs easiest and they're cheap and plentiful.
When I've done some work on the nose I move back to the forehead.
Again, I'm laying down a subtle layer of pencil and blending using the cotton swab. Any excess pencil that builds up I carefully remove with a putty rubber, and then gently blend again. I move around the face this way, building tone and form a little at a time, so as not to overload any area of the portrait with too much dark pencil. I need to retain that feel of sunlight, so doing a little at a time works best for me.
That's all I've got time for, the sculpting is calling, so this'll have to wait again til tomorrow!
The face is lit by bright sunlight, coming from the right hand side of the image, and I'm trying to keep that sense of warm sunlight flooding the face. So each stage of tonal build-up is carefully done, so as not to darken the whole portrait too much.
Using the mechanical pencil I very lightly start adding lines to build the form of the nose. To soften any lines that I don't want showing I use the end of a Q-tip or cotton swab, very gently rubbing the pencil to blend and soften the marks, but always being aware of where the darker build up of pencil is going; I don't want to distort the look of the nose. As I'm blending, if there's too much pencil on the Q-tip I just grab another one. There are different tools you can use for blending; I just find the cotton swabs easiest and they're cheap and plentiful.
When I've done some work on the nose I move back to the forehead.
Again, I'm laying down a subtle layer of pencil and blending using the cotton swab. Any excess pencil that builds up I carefully remove with a putty rubber, and then gently blend again. I move around the face this way, building tone and form a little at a time, so as not to overload any area of the portrait with too much dark pencil. I need to retain that feel of sunlight, so doing a little at a time works best for me.
That's all I've got time for, the sculpting is calling, so this'll have to wait again til tomorrow!
Thursday, February 6, 2014
Quick Face Sketch.
Have you ever had iritis? I hope not 'cos it's a painful inflammation of the iris and boy, it's no fun! The last few weeks have been a bit of a challenge to both rest my eyes and stay on top of my workload. Something had to take a back seat so I haven't been sketching for a while. But my eyes are well on the mend, so I picked a pencil back up for a quick little sketch...
I took some photos of a guy I met recently and will be working on a portrait of him very soon, but I wanted to take a better look at the images I've got and have a closer look at the face. Drawing from observation is a skill that needs practice; taking time to really look at the lines, shapes, and details of the face instead of glancing and working from whatever made it into your memory. Really looking and studying the face is like exercising a muscle, it takes effort and discipline, but the rewards are a much better drawing, so it's worth it!
At this stage I'm making a loose sketch of the shadows that define the form of the face, and checking whether I'm capturing the correct shape and proportion of the face. I'm using a mechanical pencil on a cheap cartridge paper, this will not be part of the portrait, and as it's just a practice sketch I'm not using my best paper.
I can see by this stage, that although the face in itself looks fairly realistic and believable, it's not an accurate representation of the guy. I've made the nose too small, I think you can see the original line almost ghosting the nose, but I let myself be tricked into thinking it would look too big. As I said, drawing from observation is a skill that needs to be practiced!
Enough for today, gonna give my eyes a break and work again tomorrow.
I took some photos of a guy I met recently and will be working on a portrait of him very soon, but I wanted to take a better look at the images I've got and have a closer look at the face. Drawing from observation is a skill that needs practice; taking time to really look at the lines, shapes, and details of the face instead of glancing and working from whatever made it into your memory. Really looking and studying the face is like exercising a muscle, it takes effort and discipline, but the rewards are a much better drawing, so it's worth it!
At this stage I'm making a loose sketch of the shadows that define the form of the face, and checking whether I'm capturing the correct shape and proportion of the face. I'm using a mechanical pencil on a cheap cartridge paper, this will not be part of the portrait, and as it's just a practice sketch I'm not using my best paper.
I can see by this stage, that although the face in itself looks fairly realistic and believable, it's not an accurate representation of the guy. I've made the nose too small, I think you can see the original line almost ghosting the nose, but I let myself be tricked into thinking it would look too big. As I said, drawing from observation is a skill that needs to be practiced!
Enough for today, gonna give my eyes a break and work again tomorrow.
Friday, January 17, 2014
Carl's Portrait.
Started work on a portrait of Carl - a lovely guy who does re-enactment, and as it's such a big part of his life it seems only fitting his portrait should reflect his passion, so I'm sketching him in costume.
It starts with a rough outline to get the size of the head and the features in the right place.
With the outline done, as always, I start with the eyes. I'm drawing on a flat white cartridge paper, there's no texture to the paper, and I'm using a mechanical pencil with a HB lead.
The reference image I'm using for the portrait was taken in bright sunshine, and Carl's smiling, so the light and his facial expression makes his eyes seem smaller than if his face was relaxed and in softer light. This bright lighting is going to be a challenge!
Even with the eyes smaller I still need to capture the intensity in his facial expression, so I start right in the middle of the eye. The pupil is going to be the darkest part, but it needs a spot of reflection, a highlight, otherwise the eyes will look flat.
With the darkest part down, I start building up the tonal detail around the eye. The nose guard of the helmet is casting a shadow over the other eye, and blocking out any highlights within the iris and pupil, so this is going to be tricky not to make the eye look flat and lifeless.
I'm using the pencil to make soft cross-hatching marks that blend into each other and I'm building up layers of darker pencil to suggest the 3-dimensional form of the eyes. As I work, I sketch on both eyes, building up each a little at a time so that the tonal qualities work together.
The bright sunlight is on the right side of the face as we're looking at it, and at this stage I'm think of leaving the paper completely white to show the brightness.
So I'm just slowly mapping the tonal changes on the face as it transitions from shade to sunlight. I'm not worried about the range of tonal depth, just mapping the shapes out loosely.
I'm not decided yet, but I'm thinking of making the details around the edge of the face a little out of focus, or more sketchy, so there's more emphasis on the main part of the face.
But it's early days yet, I still have an enormous amount of work to do, and the feel of the portrait may change as work progresses. It's certainly going to be a challenge though!
It starts with a rough outline to get the size of the head and the features in the right place.
With the outline done, as always, I start with the eyes. I'm drawing on a flat white cartridge paper, there's no texture to the paper, and I'm using a mechanical pencil with a HB lead.
The reference image I'm using for the portrait was taken in bright sunshine, and Carl's smiling, so the light and his facial expression makes his eyes seem smaller than if his face was relaxed and in softer light. This bright lighting is going to be a challenge!
Even with the eyes smaller I still need to capture the intensity in his facial expression, so I start right in the middle of the eye. The pupil is going to be the darkest part, but it needs a spot of reflection, a highlight, otherwise the eyes will look flat.
With the darkest part down, I start building up the tonal detail around the eye. The nose guard of the helmet is casting a shadow over the other eye, and blocking out any highlights within the iris and pupil, so this is going to be tricky not to make the eye look flat and lifeless.
I'm using the pencil to make soft cross-hatching marks that blend into each other and I'm building up layers of darker pencil to suggest the 3-dimensional form of the eyes. As I work, I sketch on both eyes, building up each a little at a time so that the tonal qualities work together.
The bright sunlight is on the right side of the face as we're looking at it, and at this stage I'm think of leaving the paper completely white to show the brightness.
So I'm just slowly mapping the tonal changes on the face as it transitions from shade to sunlight. I'm not worried about the range of tonal depth, just mapping the shapes out loosely.
I'm not decided yet, but I'm thinking of making the details around the edge of the face a little out of focus, or more sketchy, so there's more emphasis on the main part of the face.
But it's early days yet, I still have an enormous amount of work to do, and the feel of the portrait may change as work progresses. It's certainly going to be a challenge though!
Thursday, January 16, 2014
Carnival Portrait Finished.
There wasn't much work left to do on this drawing, but it was at a critical point where I could really mess it up. This is how it looked yesterday...
Using the medium black Bic biro pen I continued the gentle build up of layers of pen marks.
I use the word 'gentle' because if you press too hard with the pen you put down a very dark mark that you can't undo, and so everything else around it has to be that much darker for it to blend. In doing this you lose the ability to create the illusion of solid form; you can use darks and lights to suggest the three dimensional form of the eyeball and socket in the face.
So by gently building up layer on layer of lighter pen marks I can create the depth of darkness that I need to suggest the eye as it sits back in the socket, as well as making it look like there's make-up on his face.
Even at this stage, close to completion, I can still get it very wrong. To keep control of the sketch I step back after every few marks and look at it from a distance to check I'm not making one area too dark.
At this point I think I've finished. But after getting a cup of coffee and coming back to it, I realize the bottom of the eye, where the skin of the lower lid covering the eyeball bags a little, it looks too prominent and it's distracting my focus. So I add a few more pen marks to darken it up a little, blending them so the skin looks smooth and soft.
The difference is almost imperceptible, but put them side by side and hopefully you can see it.
It's always worth taking a little time out from a sketch and coming back to it, to see what doesn't quite work. But it's also good to know when to stop! I set out with a loose idea of a sketch, no definite plan, but knowing I wanted to create a face which looked like it had make-up on the skin. I'm happy with this one at this stage and it's a good practice run for a more developed sketch in the future.
Just a quick note: the images on the blog are yellowish in color - this isn't because I'm drawing on yellow paper, but because I'm often sketching in the evening under artificial lights and taking photos with my phone camera and uploading them with only a change to the brightness of the image. This is how the same image looks without the yellowing of artificial light...
Quite a difference! But keeping up with the blog and sketching every day will often mean slightly yellowish images as it's the quickest way to get the blog done!
Thanks for reading.
Using the medium black Bic biro pen I continued the gentle build up of layers of pen marks.
I use the word 'gentle' because if you press too hard with the pen you put down a very dark mark that you can't undo, and so everything else around it has to be that much darker for it to blend. In doing this you lose the ability to create the illusion of solid form; you can use darks and lights to suggest the three dimensional form of the eyeball and socket in the face.
So by gently building up layer on layer of lighter pen marks I can create the depth of darkness that I need to suggest the eye as it sits back in the socket, as well as making it look like there's make-up on his face.
Even at this stage, close to completion, I can still get it very wrong. To keep control of the sketch I step back after every few marks and look at it from a distance to check I'm not making one area too dark.
At this point I think I've finished. But after getting a cup of coffee and coming back to it, I realize the bottom of the eye, where the skin of the lower lid covering the eyeball bags a little, it looks too prominent and it's distracting my focus. So I add a few more pen marks to darken it up a little, blending them so the skin looks smooth and soft.
The difference is almost imperceptible, but put them side by side and hopefully you can see it.
It's always worth taking a little time out from a sketch and coming back to it, to see what doesn't quite work. But it's also good to know when to stop! I set out with a loose idea of a sketch, no definite plan, but knowing I wanted to create a face which looked like it had make-up on the skin. I'm happy with this one at this stage and it's a good practice run for a more developed sketch in the future.
Just a quick note: the images on the blog are yellowish in color - this isn't because I'm drawing on yellow paper, but because I'm often sketching in the evening under artificial lights and taking photos with my phone camera and uploading them with only a change to the brightness of the image. This is how the same image looks without the yellowing of artificial light...
Quite a difference! But keeping up with the blog and sketching every day will often mean slightly yellowish images as it's the quickest way to get the blog done!
Thanks for reading.
Wednesday, January 15, 2014
Carnival Portrait continued...
I'd been looking forward to getting back to this drawing, although I'll admit I'm a little nervous about sketching the make-up on the face in case I screw it up, but nothing ventured, nothing gained. So here goes!
I decide to define the eyebrow before adding in the shading for the make-up. Still using the medium black Bic biro pen I start gently adding the strokes of the hairs that create the eyebrow.
I follow the same directions as the hairs when making the marks with the pen, and the hairs go in different directions, overlaying each other, thicker in some places and sparse in others.
It's really just a case of patiently laying down lines to create the mass of hairs, but how you apply pressure really matters when making the marks with the pen - where the hair comes out of the skin needs to be lighter than the other end of the hair, so the pen stroke needs to reflect this.
This character's hair is very dark, and the eyebrow needs to be dark as well, so I continue layering the pen marks, still paying attention to the direction and thickness of the hairs.
Once I'm happy with that, I move back onto the shading around the eye, but not because I'm still trying to avoid the moment when I start the make-up! I need to plan how the make-up will sit on top of the skin and so I need to define the detail under the eye first. This is an older character, with lines and slight bags under his eyes so I lightly shade those in and then start adding the make-up.
As I add the make-up I follow the highlights and furrows of the skin.
Slowly, I work down the face, adding the carnival make-up detail, all the while checking the depth of shading on the overall face so that the drawing stays in balance. The shading around the eye needs more attention as I add the darker layer of the make-up, so as to not lose the form of the eyeball and socket.
Time has gotten away from me, and I'm not going to get this finished today, but I'm happy with the sketch so far. It doesn't seem like I've done much work when you compare it with yesterday but building the shading takes a lot longer than it seems.
It's looking good. Let's hope I don't mess it up tomorrow; you can't erase pen lines!
I decide to define the eyebrow before adding in the shading for the make-up. Still using the medium black Bic biro pen I start gently adding the strokes of the hairs that create the eyebrow.
I follow the same directions as the hairs when making the marks with the pen, and the hairs go in different directions, overlaying each other, thicker in some places and sparse in others.
It's really just a case of patiently laying down lines to create the mass of hairs, but how you apply pressure really matters when making the marks with the pen - where the hair comes out of the skin needs to be lighter than the other end of the hair, so the pen stroke needs to reflect this.
This character's hair is very dark, and the eyebrow needs to be dark as well, so I continue layering the pen marks, still paying attention to the direction and thickness of the hairs.
Once I'm happy with that, I move back onto the shading around the eye, but not because I'm still trying to avoid the moment when I start the make-up! I need to plan how the make-up will sit on top of the skin and so I need to define the detail under the eye first. This is an older character, with lines and slight bags under his eyes so I lightly shade those in and then start adding the make-up.
As I add the make-up I follow the highlights and furrows of the skin.
Slowly, I work down the face, adding the carnival make-up detail, all the while checking the depth of shading on the overall face so that the drawing stays in balance. The shading around the eye needs more attention as I add the darker layer of the make-up, so as to not lose the form of the eyeball and socket.
Time has gotten away from me, and I'm not going to get this finished today, but I'm happy with the sketch so far. It doesn't seem like I've done much work when you compare it with yesterday but building the shading takes a lot longer than it seems.
It's looking good. Let's hope I don't mess it up tomorrow; you can't erase pen lines!
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