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LAEllis In reply to Foggylights [2014-06-12 07:15:26 +0000 UTC]

Smudged? i blended using a tortillion and a layered approach. Smudged makes it sound as if i just prodded at the paper with my fingers haha

As for the shading technique, i had a use a different approach with this one as its on bristol board, a much harder/smoother surface, if i had used the method you suggested  it would have scored the paper when doing the darker shades. I found even 9B wasnt holding.

Thanks for the compliment. 

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Foggylights In reply to LAEllis [2014-06-12 13:55:30 +0000 UTC]

OH yes, I meant smudged as in using a tortillion.  Granted, you use it quite well but it lacks the clarity of smoothness that changed pressure would make.  I'm not sure since I have used darker graphite on bristol and haven't had problems since the lead is much softer but all of our experiences vary when it comes to different media.  However, this drawing is coming along well and I'm sure it will come out great!  

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LAEllis In reply to Foggylights [2014-06-13 10:54:16 +0000 UTC]

Just out of curiosity how exactly do you think i shade? 

I know some people assume shading is just cross hatch and then smudge it all together...It doesnt quite work that way. I'd invite anyone to get a sheet of extra smooth bristol board with a H or HB as i've used here (except for dark work around lips) and give that method a go. In regards to the smoothness of a portrait, i abandoned trying to give my drawings that smooth skin appearance because its not realistic, skin isnt smooth, i has imperfections and different grades and blotches. I cant draw heavily photoshopped photos, there is nothing to work with, everything is plain and boring!

pat-mcmichael.deviantart.com/ (i love his work, he can put down some great detail but this is my concern, the skin is too smooth, too unrealistic)
laellis.deviantart.com/art/Ars… (one of my other drawings, if i were to make this skin perfectly smooth it wouldn't look right at all)

The problem with using the softer graphite on ES bristol is the lack of tooth, you end up with alot of loose media, its hard to define and create detailed work. 

Also do you have an example of this technique you're talking about so i can see the differences.

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Foggylights In reply to LAEllis [2014-06-13 23:28:48 +0000 UTC]

I would guess that your method of shading is by doing a tonal drawing and then blending out the values so that the steps between them would like more gradual.  I agree with your belief that making the portrait too smooth gives it a sense of unreality.  I'm also not fond of portraits where the skin is completely smooth because it looks to fake, too plastic.  The texture of the skin and its imperfections are what gives it character and humanity.  I wouldn't want you to make portraits that are completely smooth also, for the before mentioned reasons.

A big example of pencil works that don't rely on using blending tools to make gradual value would M.C Escher's pencil drawings.  This is especially evident in his drawings of more organic forms like spheres and hands where all of it is just graphite laid on paper without any blending.  

For portraits in particular, I have a school mate who does some pencil portraits.  Attached are a few examples.  
1
2

Since they are shaded without blending, there's evidence of the line that gives the piece energy.  If you're not fond of line-work, just alter the pressure of the pencil so that it blends the values more.  Also, since you seem very interested in texture, why not use paper with more grain to it?  

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LAEllis In reply to Foggylights [2014-06-14 07:44:30 +0000 UTC]

ahh ok i see now, those are good drawings, they are in a particular style that i like to view however its something i try to avoid when drawing. I like my drawings to look as real as possible, as close to a photo as i can get it. That's the challenge to me. 

I generally shade in layers to get the values i want, getting darker and darker where needed. I blend mainly for texture (skin blemishes, im not quite at the level where i want to draw every pore haha) and to reduce any pencil lines.

I use lots of different paper, i have a few examples in my gallery. I like the challenge of the ES bristol and the blank sate it gives you, i have to create the texture unlike say a 250-300gsm HP watercolour paper which already has substantial tooth.

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LAEllis In reply to 98laurat [2014-05-27 23:14:17 +0000 UTC]

you're welcome, the first layers are the most important, setting the volume first, giving the features fullness using different grades of shading really helps give pictures depth. The upper lip in this WIP i think is in the beginning stages.

If you get stuck and need a hand gimmie a shout, if im around i'll try help.

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98laurat In reply to LAEllis [2014-05-30 01:48:10 +0000 UTC]

This was very helpful and sure I'll ask you if I have trouble, thank you xx

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LAEllis In reply to Venomisia [2014-03-09 15:16:09 +0000 UTC]

I'm glad it has a nosey nose feel to it.

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LAEllis In reply to Kasumi-Amaya [2014-03-07 18:45:35 +0000 UTC]

many thanks for the compliment, i appreciate you taking the time to comment. 

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LAEllis In reply to Zayrot [2014-01-15 20:25:32 +0000 UTC]

lol plastic? i was going for skin!

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Zayrot In reply to LAEllis [2014-01-15 21:26:16 +0000 UTC]

plastic in terms of 3D, not the material xD

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LAEllis In reply to burningcoldangel [2014-01-15 20:25:51 +0000 UTC]

many thanks

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LAEllis In reply to CatsiefY [2014-01-15 20:25:59 +0000 UTC]

many thanks cheers

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