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:
I think my methodology was quite successful here, both in terms of anatomic accuracy and filling the space: first I really roughly sketched the basic shapes in the picture, to get an idea of what I was seeing. I then concentrated on the back of the neck and cheek by blocking in tone – the anatomy really was striking in the natural light coming through the window. I tried to be bold. I then blocked in arm shadows.
In an effort to redress my pillow ‘failure’, I paid attention to representing the folds of the t-shirt. I made sure to spare totally white regions for only the absolute lightest areas of skin and t-shirt. I actually began by shading the t-shirt in the same manner as the pillow, finding myself in the same situation with weak, confusing-looking smudges that had no movement… cursing mildly I continued (perhaps in exasperation) by simply scrawling. This was fun and turned out much better: not only did it contrast nicely with the more controlled shadows on the (smooth) skin, but it actually gave the right feel of the fabric’s texture and flow. This is something I realised in trying in making several copies of the folds and undulations in Durer’s pen and ink pillow study, which I spoke about in this post.
Note on composition and negative space:
While I think I am doing well so far to fill the space given by the blank page, I am pretty much leaving backgrounds to their own devices – which is to say they remain blank! I find myself totally devoid of understanding here – hope to address this as the course goes on.
I drew seriously with pen and ink for the first time recently. I really enjoy it, especially the mundanity of drawing repetitive lines or dots (I shadowed using dots in the above picture, before washing over with ink).
I drew a banana in pen and ink after the charcoal effort – I wanted to compare the feel of the different media. I find this one more vibrant and energetic, although charcoal can be so dramatic because of it’s blackness and smudginess…you know that somebody’s hands were rubbing all over it.
And after this banana (quite a banana-flavoured log so far, is this my defining gimmick?), I drew my face in pen and ink knowing that there is a self-portrait coming up, and I really enjoyed trying to see/draw faces earlier on in the day. It was incredibly difficult to see myself objectively.
It has a nice ‘look’ or style, and the likeness is good, although it is quite cartoonish; my proportions are incorrect (and that is fundamental, I am trying to learn how to see here after all!), which happened because I failed to measure the nose. It is much wider in reality and as a consequence the mouth is also too small as my mouth is the same width as my nose.
And, although I like the picture, it does look quite flat despite my furious and laboured cross-hatching to signify the curvature. It is possible that I didn’t go far enough – there are quite large patches of white on the face that I can attest are definitely not flat in real life! Maybe an ink wash was in order.
I am realising the difference between being 100% faithful to what I think I see, and how I must represent it on the page; in this instance, I ought to have carried out feathering out the crosshatching into the cheeks, and across the chin and forehead. I could not see it as the shadow was quite hard, but those softer gradients in depth are there.
HB pencil on A5 paper. This was a 5-minute sketch while a small boy, my son, ate his dinner. He is extremely animated, incapable of sitting still even when eating if one can imagine that, so I found him the perfect subject for the purposes of practising the drawing of moving objects with a known but manageable time limit of around 5 minutes. I started with a soft line and then went back and blocked in some shaded areas and strengthened some lines. I can see where he has moved and I have simply carried on drawing without correcting. He has a tiny neck in this image, his upper arm is too fat. I retained the wobbly line of the arm because it seemed appropriate for the language of movement – c.f. Schiele, for example.
I realised that because I know a priori what my son looks like very well from every angle, I was able to recognise when I had reached the likeness of the face and the way his neck falls downward. This felt… not entirely like cheating, but I imagine that were I to reach a likeness of a total stranger there would not necessarily be this sense of recognition. I would have to look much harder at the subject.
This was my first ‘speed’ drawing in a long time. My aim was to capture the likeness and the shape of the body, the movement. While there is a likeness I can see that the anatomy is incorrect. I had forgotten how, at least for me, the end result can be a little hit and miss.
Charcoal on paper, A5. The bananas in reality looked as though they are splattered with ink and scratched with black lines. But this was quite easy to reproduce with charcoal by sharpening or applying with the finger. The natural blackness of the charcoal forced me into a higher-contrast drawing; one of my objections to my pencil drawings is that I am not bold enough with contrast even when the subject is very starkly shadowed. I tried to bring the front-most banana (which has broken off the bunch) forward as the focal point by darkening its contrast. May try pen and ink tomorrow.
2B and 6B pencil on A5. I used cross-hatching technique in attempt to retain the thickness of the fabric, and the ribbing in the cuff. The sock drew my attention because aside from being on the floor it looked almost as if a foot was still inside it.
Pencil, 2B and 6B in A5 sketchbook. Not really happy with shading. Began with cross-hatching, shifted to blending with finger. Could do with greater contrast, gradients between light and dark. I began blocking out the background in black (last desperate act) but realised that actually casting a shadow onto the pillow beneath would serve this purpose better.
In any case, it was interesting to note how there lay in front of me an indiscernable mess of folds: only I knew that a folded pillow lay on top of another, because I had performed that act of positioning them. Perhaps a single pillow would have sufficed for what was intended to be a short drawing exercise before bedtime.
I had a look at Albrecht Dürer’s ‘six pillows’ in pen and brown ink, shown below (1493; The Metropolitan Museum of Art). There is fluidity (and movement – one can almost feel the act of folding taking place) and curvature lent by cross-hatching with very little blocking out. Reproducing this pillow series (or reproducing the style, or both) would be very helpful in my understanding and developing the cross-hatching technique.