Allison, work in progress

Jeff Fuchs · 01-10-2003, 11:19 PM

I guess I can call this a "Commission", as long as the definition has nothing to do with monetary compensation. This is the daughter of a woman at my office. She wasn't the least bit interested in letting me take my own photo. The best I could do is get a picture of Allison that didn't have a big smile.

Not finished yet, but comments and critiques would help.

The cross hatching in the face seems to be exaggerated in the scan. It looks smoother in person.

I'm working on those darker darks that were suggested in my last critique. This was done in 6B pencil in a sketch book.

Jeff Fuchs · 01-10-2003, 11:32 PM

Here's the reference photo. I was given a small print, and I scanned it at high resolution so I could sit at my computer and draw (and so I could return the original). The hi-res scan let me zoom in for the details. Much better than straining my 43 year old eyes on a little photo.

Mari DeRuntz · 01-11-2003, 02:49 AM

Hi Jeff,

Just a quick first impression: double check the hand in your drawing. The face/head is coming along strongly, but the hand really stops me as being off. Even in the source photo (you did not take this picture and can't be sure of the level of distortion without other references) the "praying hand/arm" looks too distorted and would need to be addressed.

Jeff Fuchs · 01-11-2003, 10:19 AM

The drawing is still in different stages of development. The hand is still being blocked in. I spend so much time practicing faces, I'm stumped when I have to do hands. I've re-drawn the lines a few times, and will keep at it until it looks right before developing it any farther.

I need to spend some time drawing nothing but hands.

Thanks.

Tom Edgerton · 01-11-2003, 11:14 AM

Jeff--

Two things, quickly:

I'm big fan of high-key drawings, such as Ingres, Holbein (the younger), etc. If you push the darkest values such as hair, shadows on the back, etc. up into a middle value, the mid-light to light values also need to move up the scale somewhat toward lighter values. Put more simply, the halftone and light values in the face are somewhat heavy for the value of the shadows at this stage, thus flattening the effect. Some of the lights in the face need to be established with paper tone and no pencil modeling. You'd do yourself a favor if you look at Ingres pencil portraits--they're breathtaking.

Though it's discussing oil painting, John Sanden has an excellent video on hands. Two points he makes are: keep the lines between the fingers lighter than you think you need, and to paint what the LIGHT is doing playing across the forms, rather than overstressing the anatomical details such as knuckles, veins, etc. The key to success with hands is simplify, simplify.

I realize this is a work-in-progress. Why not re-post when you think it's finished for more feedback.

Good luck!

Chris Saper · 01-11-2003, 02:10 PM

Jeff,

I don't have much to add to the above excellent observations.

I would like to encourage you to leave the lower half of the drawing pretty much the way it is. The whole piece has the feel of a drawing, not-over-rendered. I like the sense of a range of finish-sketch in drawings - personal preference perhaps, but I think it is working very well for you here.

Best wishes,

Jeff Fuchs · 01-12-2003, 09:40 PM

I got an email asking about "WIP". I thought I had picked up that acronym here, but a search proved me wrong.

It means "work in progress". Sorry for any confusion.

Jeff

Administrator's Note: The title was changed to eliminate the WIP in the tile to avoid confusion.

Jeff Fuchs · 01-13-2003, 11:01 PM

After reading the first half of Tony Ryder's book, I decided to start over, with the lessons I learned. I started with the envelope, and broke it down into incrementally more precise shapes until I got to this. It's not completely developed. I need to make several adjustments yet.

Ryder teaches the development of the form to a very precise line drawing, which is then shaded. I've never had luck adding shading to a line drawing. My most successful shaded drawings are developed with line and shade simultaneously. I'll read the second half of the book and see If I can do it his way.

My fear is that I'll end up with a precise, but lifeless portrait. But that's in my hands. If nothing else, I will get good practice.

Jeff Fuchs · 01-14-2003, 05:31 PM

Quote:

I'm big fan of high-key drawings, such as Ingres, Holbein (the younger), etc.

Tom,

I was hesitant to ask, but what do you mean by "high Key"? Are you talking about the level of finish, or contrast? Or both?

I admit, I've heard the term a few times, but never known for sure what it meant.

Jeff Fuchs · 01-14-2003, 10:57 PM

I've got the shading well under way. It just seems to look coarser in the scan. I tinker with the settings, but I can't quite match the original drawing.

From the line drawing posted yesterday, I made a few adjustments, then carefully lightened the whole thing with a kneaded eraser. Since I wasn't certain how well I'd be able to shade it, I sprayed fixative. That way, if I had to erase the shading, I wouldn't lose the drawing. It has proven to be an unnecessary step... so far.

Still a lot to do. I wouldn't want to spend this kind of time on all my drawings, but I'm getting good practice. To me, a sustained drawing has always meant a couple of hours.