Sketching are born suddenly and remain as a memory of the moment. On a piece of paper, a napkin, a ticket, but most often in a sketchbook – a notebook or sketchbook, usually small in size. A sketchbook is an artist’s workbook. Here he writes down or sketches his ideas, plots, makes practice drawings or important notes.
This is a kind of creative diary. Ideally, every artist should have such a sketchbook, whether experienced or beginner, whether they are looking for their style or have already found it. You should draw in it often and regularly, without fear of mistakes. I know, it doesn’t always work out: when you think of every sketch as a future masterpiece in a golden frame, it’s hard to take on daily sketches. And the lovingly chosen sketchbook still lies untouched at home. Sound familiar? Taking things too seriously is detrimental to sketching.
Sketching markers special tool. they can and draw through simple fills and strokes, as any water-based marker pen, and create smooth transitions from color to color, the so called gradients.
In this at the rock we will fix the principles of work with sketching markers. and will track how to consistently form volumes in the figure.
Drawing a sketching in four colors
The first task is to create a linear drawing. I use the outline to mark the boundaries The main breaks of the form: where the light and shade contrasts are clearly visible. Drawing directly with a ruler, without a rough pencil markup, is a great Training of the eye and the hardness of the hand.
The first pass goes through the light zone. I use T1. I leave the areas where the paper is glaring white.
Now I deepen the halftones with medium gray C3. In some places I overlap the previous layer, blending it through the gradient.
For the shadows, I put in C5. It’s not a very deep gray, but it looks quite contrasting on the white crumpled sheet. Like the previous layer, in some places the shadow is flat, and in some places it is smoothly shaded. At the same time in the drawing there are simultaneously glare, light, halftone, shadow, and together they form a volume.
In the final step, you can enhance the contrast. To do this, I spot-paint the deepest shadows and creases with C8.
I add a falling shadow for greater materiality. At the point where the paper touches the surface of the table, the tone is maximal – C8. As you move away, the shadow becomes softer and more transparent, through C5 to T1. The sketch is ready!
Drawing a colored sketching
First, I make an outline drawing with a ruler. Not all lines succeed the first time, so I draw new ones to refine and tweak the silhouette. This is the stage of maximum freedom in the hand, it lays a lightness and ease in the work
The first color layer becomes the light tones. The overflow of yellow (Y11) to orange (Y35) is the common base.
Now I add a middle tone (YR12, E71), through a gradient, etching it into the already existing base. The shape begins to show.
I introduce dark brown (E74, E87) for detail, working out the texture. This is a time of attentive and unhurried parsing of nature. I try to catch all the nuances and transitions in the spots.
In the final step, I enhance my own shadow with a light violet marker (BV000). When superimposed on the orange, you get the desired complex shade. Falling shadow is active at the point where the banana touches the plane and dissipates as you move away from it (C5, T1). For the basic tone, it is better to take the lightest of the grays (C0). With a white pen I add a couple of dots – and the drawing is ready!
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