I will notice that personally I try to put shading from the left top corner to right lower — so there is no dirt and grinding, hands always remain pure. In this work - from the left cone and needles, through the middle to right.
It is very important to transfer initially direction contours tung trees (these are scales of the cedar cone in which nutlets sit) On a shishechka axis they to us are turned, and to edges are already developed by flank. Also there are nuances at the basis of cones where they as if a tip on the viewer, and on the end of the cone are narrowed, closed in a pyramid.
Let's start a portrayal. Initially we use TM a pencil because average tone is necessary and it it is possible if what to erase. Let's work in the plane so far, planning primary treatment of light and shade, all one sharp pencil.
Personally I am the supporter of a pure stroke, accurately put stroke obviously directed — this not only art means, but also esthetic pleasure for the viewer. By the way about art means … tracing a tung tree, the direction of a stroke we show the direction of growth of each scale. It roundish and in the middle is halved by nature, here all this should be shown a stroke. The pencil has to be as a needle.
How to show volume. When primary shading in the plane is put, it is possible to plan volume. It becomes by means of very soft pencil. The most distant scales from the viewer on this cone — that at the basis therefore they have to be the most dark. We plan it short shtrishka FROM the lightest adjacent place. Contrast is means of volume.
Further we plan the most fallen places on the cone, but very accurately and pointwise, it is depressions in the ground where the bases tung trees, and places where its tips are bent are located.
We finish primary shading on all cone.
Also we lay volume further. Here it is necessary to understand one: the most black have to be extreme scales, that to us in a half of turn at the edges. Here it is well visible.
To round all cone, it is necessary to impose from edges black strokes less to the middle. Having finished this work, we muddle already TM a pencil joints of scales which come under above located (are led round in drawing by circles) and we do correction on all cone.
The latest work consists in drawing on tips of scales "пумпочек".
The needles of cedars, especially adult, differ in that it does not stick out, and hang down cascades, for what always there are a wish to stroke branches, it is heavy, but is elastic.
We plan its situation at the left firmly - a soft pencil, filling with tone depths.
We apply black to depths.
We point tips.
We repeat the same above.
Where it is necessary to make smooth transition or equal tone, we apply "shading". It is a cone from a sheet of paper, twisted and fixed by an adhesive tape. It is impossible to rub graphite a finger, except botched work and dirt it will give nothing. Slightly touching with a cone tip a shading layer, accurately we strike it.
Special effects. I so call application of an elastic band not for deleting of foreign lines, and intended use of its quality to tear out graphite from a surface at a simple touch. In other words, process of a vysvetlivaniye. For this purpose it is possible to use a klyachka also.
We take the softest eraser what we have, we cut off from it part that it turned out sharp, well, or nearly sharp. And way of a tyk we remove graphite from drawing where it is necessary to clarify. (in drawing led round these places) the Soft eraser pulls out graphite from a paper surface. Also keen edge it is passable on the lightest hvoinka.
Continuation of a lesson in the second part here.