This was deceptively difficult because of the scale (meaning I couldn’t just fudge the highlights!), but I chose the object and the scale because I wanted to look in detail at the surface reflections to apply as much as possible of what I have learned so far about the use of light and dark, as well as just wanting to draw a gigantic cherry, obviously. I regret now not taking intermediate pictures, at each point I felt it was ‘done’ before changing my mind and continuing…
[A note on light: I had originally planned the space for two cherries. There was light streaming in the window as I drew the first cherry, but the light had totally gone by the time I turned to cherry number 2 so I abandoned it due to the importance of consistent reflections. Despite this in the end with the right-side shadow the composition is quite interesting, if a little desolate. What this tells me is that I should have tackled both at once – for the sake of consistency and efficiency if nothing else.]
The first drawing stage was very light, with only charcoal used and quite velvety-looking due to the texture on the surface of the page.
I went in again, darkening everything except the very striking highlights on the shiny surface of the fruit. I reason that the cherry itself is a dark colour, and therefore I am not just representing light and shadow.
After drawing in the double-shadow, I darkened up the dark areas of the fruit with black Conté. The texture still wasn’t right, so I used a pointed blending stump to really get the colour into the grain of the paper, and to push charcoal around to make sure all edges were sharp and gradients smooth. Worked beautifully, although I thing I have too much Conté coverage on the right side of the cherry – the gradient has gone, and I’ve worked the paper too much to lift any off.
Returning to composition:
It was interesting the composition that emerged from my mistake of not drawing two cherries from the outset. I then played around with cropping the image tighter on the left side. It was satisfying having the main three tones (black cherry, grey shadow, white paper) into roughly thirds, and it also gets rid of some of the negative space introducing more of a question mark regarding the empty third on the right side of the image. I originally discovered this on Whatsapp (playing around with my profile image – it was a slow evening!), and this actually worked better in terms of symmetry in a circular frame: