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Mike Sibley
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Posted Apr.28th, 2020, viewed 9 times
<< Ahhhhh. SO excited about getting to finally draw a dog's fur, BUT once I looked at it, I honestly started to freak out. To even think of being able to draw something like you have drawn Mike is both daunting and scary! How could I ever possibly do this. So... Then I worked out the negative spaces on the transfer paper. >>
Good move. I mean that seriously. You're not only remembering to look at the negative spaces, you're using them practically too. It's one of those concepts I cannot explain the importance of - but, once you understand, you'll find the ability to switch between positive and negative space a real game changer.
<< Once I felt I understood each square on the grid and the drawing in toto... >>
Toto?? You think maybe this is a Cairn Terrier? Travelling down a yellow brick road? To visit the Land of OZ? Sorry! Couldn't resist the temptation :o)
Anyway - as you were saying before I interrupted you...
<< ...I felt I needed to draw the nose and the mouth to lay down my darkest darks. Mike - you have made a convert out of me! Always always always in the past I have drawn light to dark. But no longer --- I want those darks to guide me :) and to let me "go down that rabbit hole to my own little secret world". :) :) >>
Ex-cel-lent! There are accomplished artists who habitually work light to dark, and they produce excellent results... but, they always lack freshness and sharpness. They often have this misty, unreal look about them. I'm convinced that's because, as they increase the tonal range stage by stage, they overwork everything.
I can't remember when I discovered the "black first" technique that works for me, but it was very early in my career. Certainly before I turned professional.
Now I look at the light-to-dark way and wonder how anyone can seriously consider it. Beginning a drawing with no idea of how dark anything is going to be? No way :o) So, I'm delighted you've decided to try my way.
<< So here she is. I cannot believe I have drawn this. Its just incredible to me that I could even approach the possibility of drawing something this complex. >>
For me, the acid test is "can I take any lock of hair and understand it in isolation?" In this case... Oh, YES I CAN! That tells me you were "living" each lock separately. Understanding what you were drawing and making logical sense of it. I don't mean logical sense of the reference, but of YOUR drawing as YOU see it. That's the greatest benefit of breaking everything down. You have time to really experience it, and draw it so it makes logical and three-dimensional sense to you.
This, given your current experience, is about as good as I'd ever hope to see. There's nothing fundamentally wrong. Just a few very minor things that could be improved, but you'll solve those in your own good time, as long as you continue top draw. I'll just mention one...
In the top lip, to the right of the nose, I'm certain you used indenting to produce the thin ends of the locks. I would do the same. To the left of the nose, there's one lock that dips down into the shade below it. That lock is unnaturally blunt-ended. Not to the point of spoiling the experience of the drawing, but a tiny indented stray hair or two on the end would raise its sense of reality a few notches. It's not "wrong" as it is, it just feels wrong. Or not quite right :o)
<< (Please note : I did run out of time on the front fore locks hanging down below her lips. I tried to hurry this and of course, it backfired hence the messiness. >>
I'm not concerned about that. I can see the thought processes that went into them, even at this stage. I can easily imagine them being refined, and that won't take a lot of work. And you even learned that hurrying only ever creates a longer repair job, and drawing it carefully is quicker :o)
Well done!
I meant to add... have you seen the new video? It covers the "start dark" way and creating intense darks: DRAWING DARK VALUES
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