In this lesson drawing by a simple pencil on rather big format (A3) is considered. The lesson is broken into some parts, drawing is shown later.
1 STAGE. PREPARATION FOR WORK
Paper. A format of the main drawing – certainly, A3. A4 melkovat for details, will not last me for A2 yet, so A3 – most that. I paid attention that at A3 paper on which I draw, one party smooth, and another – granular. It is more convenient to me to draw on the smooth: it gives big uniformity of the image, on it it is easier to shade and shade. It is more humane to correction of inaccuracies. Though all this does not mean at all that you cannot draw on granular paper. As it is pleasant to whom, and only the right decision is not present here. In my opinion, paper has to be dense: I should rub clean some fragments (there is such subject, hands not so direct still at once absolutely to draw), and thin it will simply be wiped. Though if you are able to draw at once absolutely – can take thin paper. Options weight. For details and sketches I use office A4 paper.
Pencils. At me their pieces 20, some duplicate each other. KOH-I-NOOR 2B-8B, Faber Castell HB, B, 2V, Stabilo 8B. The main workers are Stabilovsky 8B (very softly shades and zernit, than his Kokhinorovsky colleague less). For a sketch – Faberkastlovsky 2B – subsequently it is very easy to shade contours, but it does not smear. For thin hair lines and eyelashes – Faber – NV. All pencils have to be sharply ground. Soft sharpen accurately, they break with a bang. It is better to sharpen a knife – the usual sharpener of necessary "cut" will not give. Or take "mekhanichka" for fine details because a blunt pencil you will achieve nothing, only napachkat.
Black handle. Usual "ball" of Cello Maxriter. It thin also does not smear, I use it at a sketch of details. I in general love the handle, but difficult and dangerously to draw it on A3, it not a pencil which can be erased. And here under sketches – most that.
Brushes. Do not laugh – by them very conveniently to do basic tone. Not to smear with a finger the picture. Someone will tell that there is a shading, and to shade – not professionally. There is such subject, agrees, but it is so more convenient to me. Squirrel brushes 2 and 4 och it is convenient to shade 8B. Transitions turn out soft, pure and uniform. The base in general goes perfectly well: the squirrel gives effect of "powder", accurately distributing a pencil by a fragment. I love shading not less stroke and if there is an opportunity to work with it, surely I cling to it – because of softness. But in principle, if in an adult way – it is better to shade. In this area of experience is not enough for me yet, therefore my choice – brushes.
Erasers. Buy the Faberkastlovsky eraser "with an elephant" and cut it on long triangles. Thus, you will have erasers with acute angles with which it will be possible to erase even the smallest detail.
Tablet. Or plywood, a board, to put it briefly, any flat equal easy element, is not less our drawing on a format which can be forced to the knees. I draw on an old father's album (it has dense covers, is not worse than any plywood). Why the tablet is necessary? And everything is simple: drawing on a table, you see a leaf with perspective distortion. Therefore total drawing will differ from an idea on proportions. The tablet has drawing in such a way that your look falls on it under 90 degrees, and distortions are absent (or are minimum).
Clips. We fix a leaf to the tablet that it did not go. Though to me this your business is more convenient not to fix it (I often turn drawing in different directions), but.
Why I so in detail paint all this. Yes simply many times observed how offensive mistakes because of trifles are made (many – on the example). The materials given above are not the best, but they quite allow to draw amateur drawing in quite good quality.
2 STAGE. SKETCH
The most important part!! If not most, then one of the most important. Because if we prokosit with the sketch and something will leave somewhere, partially made drawing more painfully and more long will govern then. I spread at a forum Liv Tyler's portrait in due time. And so, if I was not too lazy at a stage of the sketch and checked similarity and proportions, a half of remarks on drawing could be avoided. Therefore the sketch is drawn to gloss until we receive that is necessary.
I start drawing practically always from a face, from an oval. Even if I draw the person to the utmost, the person always goes the first. Further we throw eyebrows and eyes. Approximately we draw a shape of lips and a nose. We throw hair and shoulders. Farther not to be too lazy and convinced better that you on a right way. I do a photo of the sketch and, having opened it in Photoshop'e, I look for not joining and mistakes, some jambs. Why it is convenient: you can reduce-increase your sketch, reflect it from right to left and vice versa, and at such manipulations jambs and mistakes get out on eyes quicker. The caught mistakes it is fixed, we correct the sketch, again we photograph and we look for bugs – and so until the sketch is ready. Perhaps, you know a way better – please, I do not say that my option only the true. As a result we have to receive the sketch with which you are happy.
It is better to do the sketch by single easy thin lines, designating spots estimated shadows. It is so more convenient to me, at least. It will be simpler to you to correct incorrectly going lines and we will get rid of "planimetric" features where quicker. Earlier I drew contours "bunches" of lines, but practice showed that single lines where it is simpler in drawing. Yes, I am Captain Obvious, but all on something stumbled.
I, unfortunately, have no kept sketch stage. The matter is that I began to keep stages not at once therefore the zero sketch in this lesson is not present. You can find in the section on drawing figure No. 1, it is approximately similar to that I had on the sketch in the beginning.
3 STAGE. WE ADD DETAILS
For this stage I use the ordinary black handle and office paper. It consists in selection of details for our work. After all sometimes drawing is done by details and though I am quite lazy, this time I wanted to trace them on a maximum (on my maximum, means). We look at the sketch. Yes, model – the girl, undoubtedly, charming. But the bottom of our picture looks empty and on one beautiful eyes far will not leave. I wanted dynamics, and it, in my opinion, perfectly transfer any kolyushche-cutting subjects. Therefore I decided to add to the girl a dagger. I experimented with sketches on office paper and decided to arrange it almost horizontally, clamped in a fist. It would be quite in good spirits my friend. But to draw it directly – it is boring therefore I slightly incline it. The diagonal is more dynamic, perhaps (the wise thought is obtained from school lessons MHK.) . Having assumed that ours of the elf quite often uses daggers, I drew a glove. Besides, gloves add graces and allow to be developed to a portrayal. So in the foreground there was a dagger gripped by "glove".
But what elf without ears? I pass to ears: I draw a sketch of the left ear. It "is bulged" as at animeshny elves: I did not want "to beat" it to the head. The second ear is transferred taking into account prospect (as practice showed, the prospect departed a little, but to govern it is already unreal: the portrait is safely given in a kind charge). Further I thought that it is better to place drawing under a fantasy "in a frame", and I added a "fragmentary" frame under old paper which rassyptsya just about on scraps. However, the dagger did not want to be exhausted in a frame therefore it supports its limits. Besides, it will add to depth drawing, and model – effect of that she wants "to escape" out of paper limits here, to us.
I try all these trifles at first the handle on A4 office. Farther the turn of details comes. They will transfer to the viewer the necessary mood. I very much love any "pendants" with a raid ethno, small pebbles and plumelets which do not bear any semantic loading, but add to drawing color. Jewelry first of all asks on the left ear: otherwise it looks empty. I throw some types of jewelry and I "hang up" on an ear a chain with kristalliky, ground under a canine. The ear with "canine" right there emphasizes as it is empty without jewelry to hair. I add a leather strip with two chained jewelry. Each of them is drawn previously by the handle so, passing to the sketch, I already accurately know that I draw. At last I add the elf a pendent and a ring on a middle finger of a hand and on it with jewelry I finish.
It is necessary to deal with clothes further. It is unlikely our lady runs on the woods stark naked (though the author does not exclude also such option). The t-shirt for elves – not clothes therefore I estimate, in what to dress it, time not in a t-shirt. The clothes have to look harmoniously with gloves on hands, and as a result I think out digestible option. It is convenient to me to draw the sketch of clothes completely, to heels because then I will precisely know, in what it is dressed and it will be simpler to me to transfer her mood. As we see, the elf is dressed in "jacket" and "topic". We also transfer them to the sketch.
The last we think a background. We have a large sketch of the main character therefore the detailed background is not required: it will simply distract. And here like fog, a haze, a stone we can quite draw something. We do not forget thus about light and sources of lighting. I throw some abstract lines as a background. A bit later I will solve, in what to re-embody them.
We photograph, we look, whether everything is pleasant, and we begin actually, to draw. Or we go to pull someone from house to learn their opinion (the truth, is risk that will send you to walk the comment "Everything normally!". Mine here from me already jump aside.)
4 STAGE. DRAWING
At the moment at us is:
- the sketch with which we are happy. And we have to them be happy! If the sketch is not pleasant to you, it is better to return on a step backwards and to correct it.
- drawing by the handle of all fine details. So, in my opinion, it is more convenient – you will already know where and that you draw, and it significantly accelerates process. Editings and completions already took place therefore you will draw practically absolutely.
- in the head we hold ideas concerning a light source: on my picture it is supposed a little on the right from above (if to look at drawing).
I begin drawing, already knowing (in the head) as where at me it has to turn out. Therefore I will draw the picture "pieces". Having finished one fragment, I pass to another, without coming back to the previous any more. If I return, only that to make something brighter. Therefore it is so important that the sketch was good and exact. I am Khryusha in respect of drawing, the hand at me is not put therefore the brush usually rolls in drawing and fidgets on it extensively. Therefore drawing of a message costs from top to down and from left to right not to smear work.
Plan to yourself a small fragment: it is convenient. I, for example, often am frightened by thought a la "My God, how many here still to draw!!" The small fragment will strangle these thoughts in a root therefore foolish degenerate thoughts leave nervously to smoke. Why I write about it? Besides, iskhozhenny personally me (and not only me, I think) a rake: there is no patience to finish up to the end because presses thought that else och there is a lot of all to do. Drawing by fragments breaks drawing, and psychologically it is simpler to finish it. At least, me.
Further there is a description of stages of drawing and the picture: at first description, picture then. For convenience all pictures are numbered, and strelochka on them showed the main changes in the drawing course. In advance I apologize for quality of pictures, I took a picture of them for memory, without thinking that as a result it will be a lesson; then it was necessary to sharpit them and to process Photoshop'om.
It is convenient to me to begin drawing with a bright dark fragment that subsequently by it it was possible to judge the general tonality of work. The lock of hair will be such fragment. I at first draw its and next locks sharply ground NV. Then from above I tint 8B and I am once again taken place by NV. Having made an approximate sketch of next "fragments" of hair, I shade transition by the Protein-4 brush. Total – I drew a lock of hair and there is tone "marker". Than "marker" — this most dark stain on the picture is good (or one of the most dark), and it is convenient to make a start from it, drawing further.
I very much like to represent eyes. Therefore though now it would be necessary to be engaged in a background (it higher), I at first will draw the right eye. We go from above: at first we draw a shadow from hair (will not draw – receive a flat forehead and not less flat hair), then an eyebrow (it it is convenient to make strokes 8B and HB), and then we start drawing of an eye. An eye is drawn from top to down: at first an upper eyelid with eyelashes, then the lower. Do not forget that we too trace whites of the eyes, differently an eye will be flat. And it round. About a lower eyelid too we do not forget. Also we remember that the most dark site is a pupil here. An eye is completely drawn by soft pencils 7B and 8B. As a result of all tortures we have some locks and the right eye.
I pass a little above and I start studying a background. At this stage I decided to build a stone wall behind the back of the heroine, plus at us narisovyvatsya the second light source: from above behind. It, of course, somewhere will complicate work, but not much more. But it will be more interesting to look. We trace a fragment of a stone laying: if you wish that it looked more relief – work with shadows. By the way, about shadows: volume to work is given only by shadows. Without them the most ideal sketch will flat therefore be not frightened potter with them. Let they will be bright: bright shadows it is better any, believe. The background is drawn by pencils of convenient softness, but I with it morochatsya not especially.
We tint a background, we throw fragments of a stone laying, approximately we aim with a hairdress form. It is necessary: all locks are drawn separately. If do not want that hair reminded a thermonuclear bast, draw each lock separately, are not lazy. I draw two more dark locks about the left ear and I finish the left eye. We do not forget that eyebrows are lines of separate hairs, and these hairs have to be visible. Otherwise you will have a permanent make-up. ^^
Further we deal with the top part of a background. The piece of a stone laying is ready, we do not touch it. Over the head we draw something like fog, and we pass to one of the most difficult episodes further. It is called "Hair". We outlined locks, further them it is necessary to draw. We remember that from above behind we have light therefore hair on the top will be highlighted. In front from above we too have a light source therefore hair will shine where they are closest to a light source. I.e. is a little higher than a forehead – and we plan patches of light on hair. At once it is visible as far as with them better the hairdress looks. At once we tint hair approximately to represent what they will be colors.
At the same stage we start studying a shape of a nose a little: we draw an easy shadow and a patch of light on the nose.
Both hair, and face are drawn by the softest pencils – 7B and 8B. Why? It is so more convenient to me: soft pencils can be made the smoothest transitions, and on a face it is especially important if you do not want that features were planimetric.
We finish locks, we draw everyone separately. If the lock lies from above, under it there will be a shadow. All locks in something remind gradients: a dark site – lighter – a patch of light – lighter site – a dark site. But everything depends and on light hade, certainly. We start studying shadows from a forehead hair, we do not forget about a strip with jewelry, we deepen shadows on a nose and at the left (if to look at drawing) on a face.
We stop drawing hair: all locks are already worked for us, the leather strip on which we will hang up then jewelry, is ready, the small lock below too is ready. Now we will pay attention to the person: the nose already too is ready, and here we still need to work with cheeks and lips. We allocate cheekbones: they will be closest to a light source, so, is lighter. We darken a nosogubny fold, sites under cheekbones and we start drawing lips. The most dark fragments of lips are corners and edges of a lower lip. That lips looked is chubbier, on the lower we will make a patch of light. We do not forget about a shadow under a lower lip. We blacken under the lower jaw.
We go further from top to down, from left to right – and we reach an ear. An ear at us though elfiysky, structural elements at it same, as well as at people. Anything very terrible is not present there, simply in comparison with a usual ear it will have longer tips. Evenly we extend an auricle and we draw an ear. Though here, in principle, it is possible to exercise the wit as it is pleasant to you: this fantasy portrait though a lodge draw ears is your right.
We come back to a background: at this stage we need to finish an average third of a background because from the heroine we still had mainly a bottom. And drawing as we remember, goes from top to down, from left to right. So, returned to a background. First of all it needs to be darkened: we have there a stone laying on which to a heap the shadow from our heroine falls. Blackout of a background in the right top corner will favourably emphasize light on hair. Accurately we throw a stone laying on the right, and at the left we impose shadows from the heroine: the light source somewhere on the right, so a shadow will fall to the left.
Completely we finish hair and a background. At the left we trace separate stones in a laying. At this stage to me the idea to make a laying not continuous, and with dredging came: we trace dredging. We do not forget that behind we too have a light source therefore we transfer reflexes to the person and a suspension bracket of the heroine: they will be highlighted sideways. We pass to the right part of drawing and it is finished a stone laying and hair. By the way, remember about a suspension bracket on an ear which we saw at a stage detalek? Here it here was also useful to us: on the left ear of the heroine this suspension bracket hung. With the top part of drawing (with the most difficult, by the way, because of hair) we finished.
Continuation of a lesson of drawing of the girl of the elf in the following lesson.