bit of critique on your shading: divide up your subject into light mass (everything in light) and shadow mass (everything that is in shadow) as demonstrated by some stuff I googled up: http://drawman.blogspot.com/2007/12/schools-out-first-semesters-in-bag.html http://www.mightyartdemos.com/mightyartdemos-gury.html and then within those masses "your darkest light is lighter than your lightest dark" and by the same token, "your lightest dark is darker than your darkest light" with light referring to light mass and dark to shadow. It's kind of an obtuse statement, but really helpful when you apply it.
like, this is the kind of thing you're doing right now http://2.bp.blogspot.com/_-rTD9HD5oJ8/R4W2wjw8HaI/AAAAAAAAAhs/ssMGLzk6QPQ/s400/Master+copy%231.jpg http://www.annakorver.co.nz/img/wrcms/annakorver.co.nz/anna_korver_drawingsandpaintings/2005_charcoal_drawing01.jpg highlights as well as shadows are everywhere. Just because one area is lighter than the area around it does not mean it's akin to the value of the highlights. For example, reflected light on an object is often brought up to a heightened value when people draw, but actually, reflected light falls in the shadow mass, and while it is usually lighter than the rest of the shadow mass it should still be darker than anything found in the light mass. http://bp2.blogger.com/_-rTD9HD5oJ8/SCjkVzIBtRI/AAAAAAAAA2U/vAp1AJyw1Pc/s1600-h/figure-drawing%231.jpg here you can see the general blocking in the the shadow mass, and the subtler ranges would be later differentiated if this was carried farther, but values from these two ares should have no overlap.
Look at values not just in relation to the others immediately bordering them, but also to the rest within the subject, and in terms of the absolute as well. Also, you don't need to bring up everything to the same level of brightness and darkness. Contrast is a good tool for emphasis and to lead the eye and can be manipulated accordingly.
3 comments:
bit of critique on your shading:
divide up your subject into light mass (everything in light) and shadow mass (everything that is in shadow) as demonstrated by some stuff I googled up:
http://drawman.blogspot.com/2007/12/schools-out-first-semesters-in-bag.html
http://www.mightyartdemos.com/mightyartdemos-gury.html
and then within those masses "your darkest light is lighter than your lightest dark" and by the same token, "your lightest dark is darker than your darkest light" with light referring to light mass and dark to shadow. It's kind of an obtuse statement, but really helpful when you apply it.
I have heard that term before in the past, but it never really clicked. Still rather unsure, but I will keep it even more in mind now. Thank you.
like, this is the kind of thing you're doing right now
http://2.bp.blogspot.com/_-rTD9HD5oJ8/R4W2wjw8HaI/AAAAAAAAAhs/ssMGLzk6QPQ/s400/Master+copy%231.jpg
http://www.annakorver.co.nz/img/wrcms/annakorver.co.nz/anna_korver_drawingsandpaintings/2005_charcoal_drawing01.jpg
highlights as well as shadows are everywhere. Just because one area is lighter than the area around it does not mean it's akin to the value of the highlights. For example, reflected light on an object is often brought up to a heightened value when people draw, but actually, reflected light falls in the shadow mass, and while it is usually lighter than the rest of the shadow mass it should still be darker than anything found in the light mass.
http://bp2.blogger.com/_-rTD9HD5oJ8/SCjkVzIBtRI/AAAAAAAAA2U/vAp1AJyw1Pc/s1600-h/figure-drawing%231.jpg
here you can see the general blocking in the the shadow mass, and the subtler ranges would be later differentiated if this was carried farther, but values from these two ares should have no overlap.
Look at values not just in relation to the others immediately bordering them, but also to the rest within the subject, and in terms of the absolute as well. Also, you don't need to bring up everything to the same level of brightness and darkness. Contrast is a good tool for emphasis and to lead the eye and can be manipulated accordingly.
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