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  1. #121
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    Hi SFA,


    It's great to see your progress. For that drawing I toned white paper and pulled out slightly in the lights, then worked darker around my light shape. It's the extreme dark of the background that makes her face look light, there is really a slight tone over her face. It's all relative - as long as you keep your light shape separate from your shadow shapes.

    It's amazing how different oil primed linen is from the canvas we all used in art school. HUGE difference. I've been using portrait grade linen from Claessens #12, but just got the slightly more textured #13 to try. I've heard it isn't as slippery, which can be a little difficult. It's good to have a bit of drag.

    Try using Langnickels #5590 Royal Sable. Get them from Langnickels home site in Flats and long filberts. They aren't expensive from the maker - average size brush is $8 about. I believe their sizes run different. A size 6 bristle is a 12 in Langnickel. They're really cool brushes. Not super soft, but not as hard as a bristle. You can get great marks with them that look non-contrived. Both abstract marks and very sharp marks. You'll recognize the marks.

    -H


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    sfa

  4. #122
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    How do you control how much charcoal you pull off? Do you go back and forth, erasing lights, rubbing tone back over with a chamois, then erasing more again? Usually I lift off too much and have to go back over with a chamois over the whole drawing to unify it, then I lift some more again. Are you removing the initial hair highlights with the chamois, or an eraser?

  5. #123
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    Great to see ur process. I just want to follow up on the questions regarding the toned paper. How did u tone it so evenly? Do u use charcoal powder with a brush which i have seen people did or do u have other techniques?
    -JS Neo

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  6. #124
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    Thanks for showing the process of the piece Raileyh. BTW, do you go to the los feliz workshops? There are some drawings in there that seem like they are from there.

  7. #125
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    to answer a few questions

    Mydrako and Kielbasa,

    I applied the tone with a chamois using willow vine, which is darker and very soft. I apply layers until I get an even tone - then I don't touch it. I don't use a chamois in the drawing. I use a piece of blue shop towel or Viva paper towel and a soft brush to move the charcoal around and lift out with a kneaded eraser. I carefully work the tone from the dark half tones into the light shape. Only a few places are the lightest light, most of her light shape has a slight flat tone for the light half tones.

    Hope this helps, I've learned to use what does the job rather than using art supplies that I may have used in art school. Anything that will do the job, a piece of cotton fabric, felt, que-tip. Chamois' are good for some things, but can become unpredictable, I want to know exactly what's going to happen when I make or take away a mark.

    -h


    Timothy,

    I do go to Los Filez, though it's been a while since I've been able to get over there. Maybe I'll see you around sometime. I'm the one under the baseball cap.

  8. #126
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    You use a brush? How interesting! Thanks for the info, I'll have to try that. Also, are you doing these on smooth newsprint? I really like how vine charcoal reacts to smooth newsprint, but newsprint doesn't last. Do you know of any other kind of paper that has the same qualities but doesn't deteriorate/yellow like newsprint?

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  10. #127
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    paper

    (kielbasa_w Also, are you doing these on smooth newsprint? I really like how vine charcoal reacts to smooth newsprint, but newsprint doesn't last. Do you know of any other kind of paper that has the same qualities but doesn't deteriorate/yellow like newsprint?)

    Question of the century..... I worked on standard white charcoal paper from a pad. I would love to find an archival paper that mimicked the smoothness and workability of newsprint. I try out different papers often, usually the super smooth papers will take graphite, but not heavy layering of charcoal. I'm going to be experimenting with oil pencil and graphite soon, so I'll post the paper and technical info.


    If ANYONE knows of good paper that will produce smooth light 1/2 tones without splotching or too much absorption please post info!!

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  12. #128
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    Quote Originally Posted by Raileyh View Post
    Hi SFA,

    It's great to see your progress. For that drawing I toned white paper and pulled out slightly in the lights, then worked darker around my light shape. It's the extreme dark of the background that makes her face look light, there is really a slight tone over her face. It's all relative - as long as you keep your light shape separate from your shadow shapes.
    Ah-ha! Thanks for clarifying that.

    Quote Originally Posted by Raileyh View Post
    It's amazing how different oil primed linen is from the canvas we all used in art school. HUGE difference. I've been using portrait grade linen from Claessens #12, but just got the slightly more textured #13 to try. I've heard it isn't as slippery, which can be a little difficult. It's good to have a bit of drag.
    Sounds intriguing! Once I go through my current batch of Fredrix panels, I'll order some C12s from New Traditions to try out. Can't wait.

    Quote Originally Posted by Raileyh View Post
    Try using Langnickels #5590 Royal Sable. Get them from Langnickels home site in Flats and long filberts. They aren't expensive from the maker - average size brush is $8 about. I believe their sizes run different. A size 6 bristle is a 12 in Langnickel. They're really cool brushes. Not super soft, but not as hard as a bristle. You can get great marks with them that look non-contrived. Both abstract marks and very sharp marks. You'll recognize the marks.
    Ah, I actually picked up Langnickels a few weeks back after hearing so much praise about them on Weistling's and Lipking's videos. Even on cheap canvas panels they handle like a dream. The only minor issue I have with them are the hairs falling out occasionally (and those two grumbled about that as well). I'm willing to put up with that quibble though for superior handling.

    I really appreciate all the tips. Thanks again and happy painting!

  13. #129
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    You're amazing Hope~ would you give me some feedback on my work?

  14. #130
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    Some awesome work in this thread!

  15. #131
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    progress drawing and photos of students working

    here's a progress on a drawing of Francisco. I used vine and charcoal pencil on white paper. I marked down on the 2nd shot some of the abstractions from the head handout.

    I'm also posting some shots of my Figure Drawing 3-4 students from LCAD working on their finals.

    They rock!!! I'm always pleasantly surprised at their level of dedication to the figure (no matter what major). Most of the students below are Illustration/ Fine Art Blended majors.
    Last edited by Raileyh; May 29th, 2009 at 06:33 AM.

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  17. #132
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    Hi Hope, your new work is looking great! I love the simplification of the large tones, there is just enough modeling to suggest the three dimensionality. I dig it, I will be studying these drawings closer...

  18. #133
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    this is too much condensed beauty for my brain!!

    I really like those angles and the way you give character to the anatomy/features. i still find it quite hard! would be great to hear some tips on that
    keep rocking!!
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  19. #134
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    I think I have, like, a million questions for you.. Just don't know where to start..
    I am a life drawing noob and don't get any help in the class (drop in class, after my daytime job), so all those tipps you were giving on this page sound like space science to me.
    Any chance of telling me how to erase the mess I made with the vine and maybe some general tips on shading with it?

    I would be very, very, very, very grateful!

    Thank you so much!

    Kan

  20. #135
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    Awesome, Raileyh, Love your shading so much. Love the subtlety of your shading. I'm always afraid to do the slight variations of the form because it's easy to overdo it for unskilled hands like mine.

    Can you post a large version of the girl please? That looks really good.

    Quote Originally Posted by Chupacabra View Post
    I think I have, like, a million questions for you.. Just don't know where to start..
    I am a life drawing noob and don't get any help in the class (drop in class, after my daytime job), so all those tipps you were giving on this page sound like space science to me.
    Any chance of telling me how to erase the mess I made with the vine and maybe some general tips on shading with it?

    I would be very, very, very, very grateful!

    Thank you so much!

    Kan
    From my experience with charcoal, there's no possible way to complete erase your marks. So you leave those lines, and then cover it with shading. Or in a line drawing, you can just leave those ghostlines there. It's not very conspicuous anyway. Chalk or white charcoal can bring out the highlights pretty well.

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