REALIST WORKSHOPS: July 2011

Agostino after Anabale Carracci, Hercules & Cacus, pen and inkwash

In the drawing above Agostino has looked for general light and dark masses that give a greater sense of depth to the drawing. Note the treatment of the light areas. Agostino chooses to leave the lightness of the paper as a means to give the illusion of light. There is very little modeling or tonal work in these areas. Remember the general rule in drawing "Don't dirty the lights"

ROUNDING EGG STUDIES

1. Set up a direct strong light source either a lamp or window. Place an egg on a small table and starting from the rim light draw the egg starting with an outline, and shadow shape line. Use a 2B pencil.

2. Once you start shading use the handout I gave you to look for the terminator, reflected light, cast shadow, dark light, light light, and highlight etc. You can use toned paper with white pastel for the lights, just remember it is generally easier to work from dark to light, that means work the shadow side first. If you are using white paper it may take a little longer it’s your choice just remember don’t over work the light side, if in doubt leave it alone, don’t dirty the lights!

3. Once you’ve finished the rim light move to a position where there is roughly half light and half shadow and again on completion move to the full light side this is where you and the light source are both facing the egg. There is little shadow so you can use a harder pencil to get the sense of rounding the form.

Some tips for rounding a form is to remember not to just shade in one direction; shading and hatching in multiple directions will create a mesh like structure.
Giving a slight curve or arc to your marks will create a series of arced parabolas in your drawing that increase the sense of form and solidity.
Try to sense and observe the roundness of a form and how it may either turn toward a light source or away from it.
Think shape all the time, remember shape just doesn’t start and stop at the contours edge. Shape is inherent in both the inside and outermost edge of the form. Think of the contour or edge as a horizon.