Exercise 2 Observing shadow using blocks of tone
Exercise 3 Creating shadow using lines and marks
How difficult did you find it to distinguish between light from the primary light source and secondary reflected light?
I am having trouble with this question, seeing it written down like that in words. Looking at what I've drawn, I can remember deciding that the large white area on the inside of the bowl was the brightest, and should therefore be left mainly as the white paper. This, of course, and a small area of the lip of the bowl, are the areas most completely lit by the light source. Other, reflected areas are all shaded to one extent or another. Sometime reflections are very bright, though, and in those cases it may be necessary to rub out areas in order to show this.
How has awareness of tone affected your depiction of form?
I have become aware that using tone removes the need for outlines in most cases, and that this has the potential to completely change the way I approach drawing objects. However, it is going to take a while to get my head out of the habit of telling me that I have to draw lines. This is a sketch I did at the Imperial War Museum. I started out using outlines, and then reminded myself to use tone, and that made the image a bit more three-dimensional- looking. Better...but lots of practice required!
|Flat tyre of an army truck|
Imperial War Museum London
Another example of the difference using tone is making for me:
Because I signed up for this drawing course I have finally braved a life drawing class at my local pub, that has been on my to do list for 6 months.
On the left, my first 2 minute sketch using only line, and on the right, something a bit more tone-based. While I am quite pleased with both (I am at the stage where getting the proportions approximately right is a bit of a triumph), there is no question which woman looks more real and interesting.
Exercise 4: Shadows and reflected light
For this exercise I used a large silver Christmas bauble on a white plate. As well as the light from the large window to my right, there were reflections of the room, and of me drawing, in the bauble.
After my conversation with my tutor, and because I wanted to make this one really big, I thought this might be a good exercise to try out drawing on fabric rather than paper, so I used some viscose lining fabric in a cream colour.
This is how it turned out:
|Bauble on a plate|
Charcoal and white conte crayon on viscose
When I got to the part where I wanted to erase the brightest areas, I couldn't because the cream was already a mid tone. So I used white crayon instead for the parts where the window was brightly reflected. I think that the part on the plate with the same sort of pattern of white was actually where the reflected light from the bauble hit the plate. Again, the detail seemed to develop over time, like a photograph.
There were some technical problems with using fabric. The first was that it needed to be pinned down, and even then it pulled sometimes when I tried to draw firmly. Also, the strokes of the charcoal show a bit more than they do on paper. And the folds and creases of course, add to the complexity in a way which is not so great in this instance. Despite all this, I was pleased with the the way the bauble looks clearly spherical, and the reflection strips on the neck and loop of it turned out very well. It kind of appeals to me that I can see myself in the bauble, too. The plate was not so successful, in part because the charcoal came off in lumps in parts of it, rather than the rather delicate even shading I was hoping for. Spray set seems to work on viscose too, without discolouring it or changing the 'handle' noticeably.