DrawWithMike.net

Thank you very much Mike for your kind permission to ‘borrow’ your drawing “WHAT”. The step by step instructions in your book combined with the videos here have given me the confidence to give it a try! I am definitely feeling the benefit of concentrating on one small element or even a small aspect of an element at a time! So far I have tried to focus on topics covered in the basic techniques videos: - establishing a wide tonal range,- sharp edges, - shading, scribbling & stippling,- Erasing techniques, - division techniques. Although I have obviously exactly followed your outlines, I am not going to do so for the detail of the bricks, mortar, wood and leaves - will give that a go on my own! There are so many different textures to practice!

Have just noticed that my wheel is not a uniform width all the way round- it appears to narrow towards the top - will alter that!

ElaineH wrote: Mon Oct 21, 2019 7:28 pm I am definitely feeling the benefit of concentrating on one small element or even a small aspect of an element at a time! ... Although I have obviously exactly followed your outlines, I am not going to do so for the detail of the bricks, mortar, wood and leaves - will give that a go on my own!

That's precisely the approach I'd encourage. When I composed this I knew where the principal elements would be, and most of the foreground foliage. But there are many instances of things "suggesting" themselves as I drew. For example, the big leaf beneath Maisie's rear foot.

And it's totally a composite study. It never existed in real life, so feel free to make it your own

I forgot to mention... In my opinion, it's working on a small area at time that permits the suggestions to arise. You become immersed in that section to the point where it begins to become real, and that triggers the memories that flesh out the area with the things you expect to see.

Made a bit more progress with drawing the lovely Maisie.

From my viewpoint, you're doing two things absolutely correctly.

You're breaking the drawing down into manageable sections - so you're not overwhelming your mind. You're giving it time to react to what it sees as you draw, and to bring connected memories to the surface.

And you're not trying to draw two things, or more, at the same time. Again, that allows you to immerse yourself in that texture or surface so you recall everything you know about it. For example, whatever you were drawing, you've stopped short of Maisie's hair... because hair is a different process.

Now I understand the reason you suggest working on just one texture at a time. Drawing like this makes my mind feel much clearer and less cluttered, even though it is by far the most complex drawing I have attempted. Thank you

Getting a bit further with drawing of Maisie. I have used Mike’s outline of the leaves, but am trying to work out the details for myself.

Looks beautiful so far Elaine!

Looks great so far, best of luck

Quick critique of the leaves down the left-hand edge...

First, the cast shadows within the leaves are excellent. I can immediately understand the spatial relationship of each leaf to those around it; and its three-dimensional form.

But... there's always an annoying "but" isn't there

I'm assuming this is one plant, or one type of plant, because the values are similar throughout. Except that is for the foliage in deep shade, such as that at the top or just beneath the axle boss. The BUT is... there's a big jump between background and foreground foliage. Everything is either one or the other - the midground is largely missing.

Consider building in an occasional bridge. Something that links the layers and helps the viewer travel between them. All it needs is a leaf that emerges from the shade into the light. Or the reverse; a foreground leaf that curls back into the shade. That creates a natural connection, and introduces midground values too.

All that said, you have created a great deal of depth, and your foliage has a purely natural feel.