"First Steps" Exercises from DWM Videos

[wayneCol]

I hadn't thought of mixing brands and making a melange of grades - but it's an excellent idea and once I return I'll experiment and try it out.
Wayne

[Mike Sibley]

I hadn't thought of mixing brands and making a mélange of grades - but it's an excellent idea and once I return I'll experiment and try it out

I always aim for consistency. Otherwise, you're continually relearning. So mixing brands is OK if that solves a problem involving grades.

But then stay with that mix. As you work, you need to concentrate on being creative, and NOT having to think about how any particular grade is going to perform.

Make your choice. Discover everything each of those grades can do - individually and layered. And then stick with that mix.

[wayneCol]

While away I purchased a set of TOMBOW MONO pencils and to get a "feel" for them I did the attached exercise which is a value scale (1st column is computer generated, 2nd column MONO pencils without much pressure) and then column 3 is 6 progressions to see how the different pencils merged together. There is no layering in any of these. I found these pencils to be very smooth, very dark, easy to sharpen and the leads seem hard and don't break or crumble like other brands - all in all a good experience. BUT they only come wood-cased, so can't use in clutch pencils and they are imported here ( that means very $$$ and long waits ) so back to Staedtler and UNI I guess.

[Mike Sibley]

While away, I purchased a set of TOMBOW MONO pencils and to get a "feel" for them, I did the attached exercise which is a value scale (1st column is computer generated, 2nd column MONO pencils without much pressure)

I'm glad you mentioned that last part... you have such a scientific approach and near-perfect application that it's hard to tell the difference.

...and then column 3 is 6 progressions to see how the different pencils merged together. There is no layering in any of these.

Again, perfectly and accurately executed. And a most useful exercise.

I found these pencils to be very smooth, very dark, easy to sharpen and the leads seem hard and don't break or crumble like other brands... BUT they only come wood-cased...

I have a Tombow 2B that I have used in the videos, and I agree that its quality is superb. Incidentally, I also have a full set of Derwent wood-cased - but I wouldn't ever dream of using therm to draw with. Many artists do, but they just don't suit me at all. However, I do use them in the videos, simply because many artists use them, and I don'tr want to alienate anyone by only using my Staedtlers.

[wayneCol]

Personally I have never had good luck with Derwent pencils. I find them gritty, "stoney", the values are inconsistent from batch to batch, they don't sharpen consistently - the wood quality varies considerably, and they don't keep a point ( for academic work ) - not sure how they handle chisel points. Derwent brand is available here, but I have avoided them because of my past experiences, but admittedly it's been a few years - maybe I should try them again - naaaah, I'm happy with Staedtler and UNI!

[wayneCol]

Well Mike, following your advice I started the "White Feather" Exercise and worked on it for a couple of hours. I have attached a scan of what I did yesterday. Looking at it today, I do not like the composition at all - unbalanced - the feather is too small, so I'm going to re-work it and try again. By the way, the blacks were done with a 4B UNI lead in a 2mm clutch holder with, can you believe this - a CHISEL point. Truth be told, I'm really starting to see the benefits of that point especially on the Bristol Vellum. Stand by ...

image-0001.png

[Mike Sibley]

Derwent brand is available here, but I have avoided them because of my past experiences, but admittedly it's been a few years - maybe I should try them again - naaaah, I'm happy with Staedtler and UNI!

I have a box of Staedtlers - from 1956, I think - and over 60 years later, a new Staedtler of the same grade behaves and handles with no detectable difference at all.

[Mike Sibley]

I started the "White Feather" Exercise and worked on it for a couple of hours. By the way, the blacks were done with a 4B UNI lead in a 2mm clutch holder ....

I use this feather at the beginning of most of my courses and workshops. I don't critique it, because it's a marker against which you can judge your progress.

However, it also has a secondary use (possibly primary? )...it shows me how you work now, before I start to interfere with it. And how busy I might be over the next eight weeks.

... can you believe this - a CHISEL point. Truth be told, I'm really starting to see the benefits of that point, especially on the Bristol Vellum.

I tend not to use or do something without a definite purpose. The Chisel Point falls into that category. It's not something I read about and used; it just evolved, and then I gave it a name. But, it evolved for a purpose.

It removes the need for constant sharpening. And that removes the need to keep breaking your concentration.

It shades smoothly, with soft-edged lines. Lines that will skate effortlessly over the surface of the paper.

And, rotated 180 degrees, it can draw a dark thin line with sharp edges. A line that will get deep into the tooth.

I don't even know if it's an "acceptable" point - I've never checked - but it works for me.

[wayneCol]

Ok, I've re-worked the composition, re-drawn the whole thing and shaded in the background up to the enclosed linear envelop around the drawing of the feather. The blacks are sort-of Ok, but I will put on another 4B layer and then clean it up a bit with my kneaded eraser ( can't get your Blu-Tack here ) but that is work for tomorrow. Will post another scan when the clean-up is done. Here is the way it looks right now ... I'm actually pleased with this thus far.

Image-0001.jpg

Just as an aside .. I have already learned a lot just from the work thus far. Despite my initial scepticism, your chisel point is an absolute delight to work with - it lays down wide bands of graphite, and if you're careful leaves no gaps because of the soft edges, and that allows you to judge the value/tone better. I recognize a good thing when I see it and I'm sold!

And I have NOT sharpened a pencil all day -- this must be the best kept secret in the drawing world!

[Mike Sibley]

Ok, I've re-worked the composition, re-drawn the whole thing and shaded in the background up to the enclosed linear envelope around the drawing of the feather...

Are you intending to develop this into a completed drawing? Obviously, the exercise doesn't require that, but... ?

If you are, I suggest you use it as an exercise in logically dividing the drawing.

First, I'd heavily, and sharply, outline the lower edge. That can be extended into a cast shadow, if required. And you can decide this early where any splits up into the body of the feather might occur. And any subtle variations to that edge. Then, when you draw the filaments, you'll have features to aim for and make sense of.

The feather itself consists of at least three parts: the central quill, and the filaments to either side. And they - if you want such detail - can be broken down again into individual filaments.

The more you can break a drawing down, the easier it becomes to execute it. You can split line from tone too. So, I'd use line to define the filaments. And then a shaping layer on top to provide the overall three-dimensional form of the feather.

Despite my initial scepticism, your chisel point is an absolute delight to work with - it lays down wide bands of graphite, and if you're careful leaves no gaps because of the soft edges, and that allows you to judge the value/tone better. I recognize a good thing when I see it, and I'm sold! And I have NOT sharpened a pencil all day -- this must be the best kept secret in the drawing world!

Yay!!!!!!! A fan!!!!!!! I'll just add another notch to my giant pencil.