Covid #6 Challenge: Inktober 21!

 Today is the first day of Inktober!

I have decided to delay another White on White challenge until November (I hear you all cheering). Instead I want to do some Inktober drawings with you and hope you will join along. Click the link in the headline above to see the official website - but basically the idea is to do an ink drawing a day using a supplied prompt throughout October. The prompt list is:

I am not going to be too pedantic about this - I may not manage a drawing a day. And I might use a bit of pencil or watercolor wash here and there. But the majority of any drawing will be ink. 

You can use any sort of ink - dip pens, fineliners, Inktense pencils/blocks, ballpoint pens, whatever you like. I also suggest you do them all in one drawing book/pad. I am using a cheapo MontMarc visual diary I had kicking around. It's not the greatest paper but it does the job.

And if you don't think you can manage a drawing a day, then just do one a week for me. Send it to me at the usual address (or use the contact link on right) and I will post them up. Or if you really want to get involved and are on Instagram check out #Inktober or #Inktober2021 and see what a worldwide community of inky artist create.

It's lots of fun! And my first drawing for Inktober is 'Crystal' - one of my silver spoons that has an amethyst  on the finial.

'Inktober #1: Crystal' by Linda Weil

Hope some of you join in!

Covid #6 Challenge: White on White... and a request

 Good morning, and thank you all who responded to my previous post and email regarding the now online exhibition of Spoons at Tacit Gallery. If you have the chance, please 'like' me on the Tacit Facebook or Instagram pages for this exhibition.

...getting back to White on White, KM has sent me a very nice drawing of a Lily. I am in a bit of a quandary over this work, because I really love it ... but ... it doesn't quite follow the brief as explained in the original post. The request was to use the background dark to assist in creating the white shape of the subject, as stated: 'the technique of using the darks surrounding an object to define the shape.'

KM has instead used an outline technique with minimal tone and no dark background at all! So not quite as the challenge requested, but DARN IT, it is such a good drawing I have to show it anyway. The lily she has drawn has an elegant shape, with free flowing and expressive lines. The linework uses thicks and thins in almost an ink-like way from dark tones fading to lights. This has created a beautiful, somewhat sensual drawing of the subject. So while KM has deviated from the original brief I still want to congratulate her on a lovely work.

Sometimes as an artist is pays to work to your strengths!

'Calla Lily' by KM

Tacit Online Exhibition: Spoons

 
Linda Weil's solo exhibition Spoons was foreshortened by the current lock-down and will be unavailable when we re-open. So for those who did not get the chance to see it up close and personal in early July - HERE it is.

"No one really knows when the spoon was first invented, though archaeologists have found fossils that suggest the Neanderthal created spoon-like instruments of seashells and animal bones. Our ancestors used shells or animal horn attached to sticks. Spoons were carved from wood; the word spoon comes from spon, the Anglo-Saxon word meaning 'a chip of wood'. Shell, bone, pewter, bronze, copper, and silver have all been used to create a handy tool for transferring food from a bowl to our mouth. 

My fascination with spoons began when I was looking for a drawing subject for my students. I wanted something that had a familiar shape, allowing a form interesting enough for both a novice or more advanced student to draw. It also had to reflect light and give a wide range of tonal options for graphite drawings. A variety of design within a common form was another a desire. And finally, as I needed many of the objects, it could not be too expensive to supply. Spoons fit all my criteria. Some I already owned, and the local Op-shop supplied more in a variety of styles and design at a mere $1 each. 

As I cleaned and polished my collection I began to wonder about each spoon's history. Where was this spoon made, when and by whom? Who bought it and why? Each spoon seemed to tell me a story. Every spoon drawing in this exhibition comes with a history. Some stories required a little research and are true, others are family traditions and may or may not be totally true, and the rest are pure imagination. None of my spoons are worth much in dollar value, but the stories and history they tell are priceless."

Linda Weil 

Click on link at the top of the page or click here to see exhibition in full.

Covid #6 Challenge: White on White continues

 Great to see a couple more of you giving this difficult challenge a go!

Special mention to JMcG - who has really embraced the challenge and explored the depths of working with white. As well, she took my suggestion to improve the quality of paper she has been doing these on and I feel it has made a difference to how she has handled the graphite. This is an A4 sheet on 220 artist paper - JMcG sent through her photo for me to view as well.  She says she closely followed the steps in my instructions and I do think her first effort worked well - the flower shape in particular is very good -  but we both agreed that more depth in the darks was needed and the addition of waterdrops would lift the work:

Original photo and first submission of White Azalea by JMcG

I sent her a worksheet on drawing waterdrops (you can ask for this via the contact form right), and she went away and worked some more of the piece. You can see a big improvement in the work - a greater tonal range and development of the darks in the leaves which really sets off the flower. This also helps to make the stamen and pistil pop. The addition of the waterdrops help as well, adding interest and creating form. Perhaps a little more tone can be still added to the center of the flower to make the interior elements stand out more. You could use indenting here, even at this stage, in the stamens if you are concerned about losing those whites. 

This is a good work JMcG, and your willingness to go back and improve it is commendable. So often students are afraid to push a work further, so well done you!

'White Azalea' by JMcG

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EM has done a rose for us - but she has used her own image. EM has drawn this rose previously in color so to challenge herself even more, she reversed the image! That would have been a bit mind boggling to work out while drawing. This was drawn with Faber Castel Graphite on 210 gsm paper that has a bit of a tooth. Her image did not have any leaf surround so she chose to use a flat dark background which works well to set off the white of the flower. Good shapes and tonal variations set off the rose nicely. Perhaps a little more dark tone gradient is needed in some of the petals where they meet the interior areas, but overall a very pleasing rendering of this rose.

'White Rose' by EM

Covid #6 Challenge: White is challenging!

So, I guess I scared off a few of you with this one! Yes, white on white is confronting and 'negative' drawing can be tricky. But once you have tried it a few times and begin to understand how it works it becomes an invaluable technique in your toolbox.

I am pleased to see JH's challenge drawing. She chose to duplicate the white rose I created, using my photo and the step by step work sheet to assist. Great to see, and I hope it helped some in understanding the process JH. A bit like a Great British Bake Off Technical Challenge, my step sheets don't give a lot of detail. Just enough to show the way and let you develop a work in your own style.

JH's rose is nicely formed, good darks and lights with plenty of tonal variation. She has a very painterly style with pencils that suits the subject well. My only suggestion would be to have less of a hard edge to the surrounding background by fading it off more. A lovely rose, JH, well done. 

'Rose Study' by JH

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GW took the challenge as well, creating a good drawing of a Corella, one of her favorite birds. The background and dark roof set off the shape of the bird well - the shape is also well drawn. Features on the bird are nicely observed, although you have turned the head a bit away compared to the photo reference you sent me, GW.  You have not really done much tonal work in the feathers but I like the way you have created a mosaic like feel to them. The feet could be better, but you told me you are aware of this. It is good when you can see this sort of error yourself without me pointing it out! I would suggest that you try drawing the feet alone on a separate sheet of paper just to experiment and learn more about them.

Overall it is a good drawing. One thing that I think could make it more effective would be to consider doing more with the background surround. A bit like JH's above, it ends rather abruptly. But with your drawing, this edge suits your style, so why not develop it further? Maybe create a silhouette tree edge and extend it more to balance the work better. I did a fiddle in Paint to show you what I mean (below).

'Corella' by GW

Background suggestion for GW's Corella. GW could also 'square' off the edges of the background and the roof line to create a more finished appearance. Either with the pencil or by using a mat.

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I am currently working on the next challenge piece and it will take the weekend to complete. Warning, it will be more white on white! And it would be helpful to you if you did this first challenge before attempting the second. So you have a couple more days to play around with this. Have a go!

Covid #6 Challenge: White on White

I am often asked how to draw in graphite white subjects onto a white paper. There are many different techniques and I will look at one today. I will be focusing on using negative drawing to create positive/white areas.
Your challenge is to draw a white object in graphite on white paper.

First, are some important things to remember about using white in your graphite drawings.

1. Remember to always retain the white of your paper - keep it clean. This will be your whitest area and highlights in your drawing. Don't rely too much on erasing to achieve this because;
2. Erasing can leave marks and doesn't always remove all graphite leaving dirty smudges in your whites.
3. If you like blending with tortillion be careful as once you blend you can never get the white back no matter how much you erase as the blender will push the graphite into the paper fibres.
4. Your darks will always define your light tones.
5. Finally, remember just as Black is never totally Black, White is never completely White. There are always tones and gradients.

Negative drawing is the technique of using the darks surrounding an object to define the shape. Mike Sibley has a very excellent introduction on the ArtInstructionBlog. Click this link for some very useful information and exercises.

"It (negative drawing) permits you, when drawing spontaneously, to quickly create white objects on the paper by simply drawing the shadows between the - hair and grass, for example." Mike Sibley

Observe this drawing of an Iceberg Rose I created for this post. Note carefully how it is the dark surrounding leaves and hatching that create the 'white' of the rose. Observe also how I am not afraid to use dark tones within the white of the rose to create interior depth and cast shadows. Below the completed drawing is a 'step by step' image that shows you how this work developed.

'Iceberg Rose - Graphite' by Linda Weil©

'Iceberg Rose - Step by Step' by Linda Weil©

Now it's YOUR turn! Select an object or photo where the white object is surrounded by a darker background. If you do not have a suitable image available you are more than welcome to use the shot I took of my neighbors rose that I used for this exercise. If you use my image you can use the above 'steps' to assist you in your drawing.  Have fun!

Iceberg Rose - photograph by Linda Weil©

Covid #6 challenge: More fabrics

Good morning again. A couple of really strong and interesting fabric works were submitted yesterday. Both are uniquely individual to the artist and reflect their particular style of drawing.

JMcG loves fabrics. She also enjoys using strong darks and has been working on the technique of building up to darks with successive layers rather than excessive pressure. Using layers creates tonal gradient without the shine or paper distortion that pressing gives - and JMcG had done a really nice job with this work developing this. Using Derwent Graphic pencils ranging from F, HB, 2B, 4B, 7B and a touch of 9B this work is an excellent study in fabric folds. It is not overworked or heavy handed in the darks but has good dark shadow/valley recession, tonal range/gradients and highlighted peaks. I think the tassels need more study, but we will look at negative drawing in an upcoming challenge for this.

 This is good work JMcG - J says she hasn't tried the yellow task yet... why not draw this scarf in yellow as well?

'Scarf in Graphite' by JMcG

𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋

GW had drawn her linen scarf, and she has taken a very different approach in technique. Using a linear style rather than tonal gradient GW had concentrated on the form, shape and texture of the scarf. Bold linework of thick/thin marks accent the folds and delineate how the fabric is twisted. Close attention to the linen texture is created with hatching and cross hatching, carefully worked out in dark and lighter pencil.

Although this is not strictly a tonal piece, it is an excellent observational study with strong graphic sensibilities. I like this one a lot.

'Linen Scarf in Graphite' by GW

𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋𑁋

Artist of the Week: Helen Edwards

If you have not come across Australian artist Helen Edwards' work, I encourage you to visit her online exhibition HERE. A particular interest to her is the study of fabrics - have a look at her Scarf series:

'The fabric or veiling motifs allow a level of freedom and freehand in the expression and depiction of self. In the Scarf series (2016), Edwards depicts herself in various states of movement but the scarf provides protection, an obscuring – mirrored by the drawing Homage (2016) where, head down, hair acts as the veiling. 

Covid #6 Challenge: Fabric continued

I have had a bit of feed back on this one - it is a challenging exercise! So I am going to let it run a few days more before posting another challenge to give those of you who are struggling with it a couple more days. Watch that knot video if you are stuck, it really is helpful. 

KMcD took inspiration from the video and drew two very nice interpretations of a fabric knot. Drawn using F, B2 and B4 Staedtler pencils on 110gsm it shows a good understanding of the shapes and form of the knot. I think the drawing could benefit with a bit more attention to the tonal gradients easing away from the darkest shadow areas to create less 'line'. But I must compliment KMcD on a strong graphic drawing that works very well.

'Scarf Knot in Graphite' by KMcD

She drew the same scarf again using Rembrandt pastels on 185gsm paper. Again, she has observed the shapes, forms and shadow areas well. KMcD has also achieved in this pastel work the appearance of a soft and cozy wool scarf. Consider adding some white pastel touches to create highlights here and there.

KMcD tells me she did several other drawings before returning to the knot. These are both good works with nice observation. 

'Scarf Knot in Pastel' by KMcD

EM has also done several attempts at the fabric exercise, also bleeding a bit of the 'yellow' study into it as well. These studies are the result of a morning's house cleaning - two works of the grubby dust cloth. Lol, I too, prefer drawing such an item as to using it! 

The first is in graphite, 6B, 2H and then B. The second is using Faber Castell: Light Cadmium Yellow, Cadmium Yellow, Dark Cadmium Yellow, Dark Chrome Yellow, Alizerin Crimson, Warm Grey III and VI with tortillion. Both were done on standard cartridge paper.

Again, good observation of the forms and shadows. I would be tempted to add a little white chalk here and there on the peaks/ridges to add a bit more highlight to the forms. Good work.

'Dust cloth studies' by EM

EM also attempted to draw the knot found in a slinky tee shirt top. Done in purple, fuchsia, grey and white pastel with a bit of 6B graphite. Although she says she is not too happy with it I think it is a good effort, the knot shape well observed with good 'mountains and valley' forms. What has let her down is the paper she has used and I would encourage her to try again on a better pastel paper!

'Slinky knot' in pastel by EM

As I said above, I will hold off posting a new challenge for a few more days - so get out your pencils, charcoal, pastels and have a go at fabric for me. HERE is another good tutorial to watch if you want a few more tips - it is only 5 minutes or so and he just uses one pencil!

Covid #6 Challenges: Fabric and Yellow

 Good morning all.

It's been a quiet sort of week here. One drawing in ink finished, and a few sketches for some planned works in the future. But not much progress otherwise. However, a couple of you have been keeping busy with these Covid Challenges.

DH is the first of you to submit something for the 'Fabric' challenge. I am very pleased with what DH has done. There is a bit of unfortunate camera flash on the image - this will sometimes happen when there is dense graphite as graphite is a reflective surface. But I can see beyond that flash to appreciate how well DH has observed the bumps, folds and valleys of the scrunched up tea-towel.

If you watched the video in the initial Fabrics post, you would have seen how the placement of very dark black on the edges of the folds works. DH has used that technique here and is quite successful. I also like how he has concentrated on creating the shadows and folds and how the striped pattern reinforces these curves and bumps.

DH was worried that he had gone to dark in the central (flashed) area, but I say no! Maybe could be even darker... maybe. But I think this is a very good observational drawing of fabric, and well done DH.

'Tea-towel Study' by DH

Hey there GW - great to see you here and drawing! GW has been working on her yellow studies, as well as oval drawing and has created this sweet drawing of spring daffodils. One of my favorite spring flowers.

GW has used a cartridge paper visual diary to create this work. Layering can get tricky on this sort of paper as the pencil fills and flattens the surface quickly. There is a little bit of 'bump' created by layering on this paper and I would like to see her try something on a 300gsm hot press - as this is a nice work and deserves to be on better paper!

I really like the range of hues she has used to build up her yellows and the final orange center. As well, the overlapping petals and the shapes are nicely observed. I would like to see GW use a yellow in her green first and then maybe a bit of blue or darker green to create form in the stem. Next time! Overall this is another good study and I am really pleased with her use of layers and build up of the yellow hues.

'Daffodil' by GW

Note:

I use your initials rather than your full names in my posts to preserve your anonymity. However, sometimes some of your classmates would love to know 'who' you are. You can make contact by posting a comment on the comment link on the right, or you could also sign your works with your names if you wish to be wider known.

Inktober is coming!

It's looming - INKTOBER! A drawing a day in ink. Register or go on line, the prompt list for October is up and running so you can begin today. I will be participating here on the blog, maybe you would like to join along? Anyone can do it, it is a lot of fun - and you don't 'need' to post your work - just draw for your own enjoyment. You can read all about Inktober HERE

Covid #6 Challenge: Fabric

This weeks challenge has been inspired by SW's red mask - so you can either thank or blame her! I thought it would be good to review fabrics with you, folds, creases, highlights, etc. This should be a tonal study so graphite or charcoal would be best. But if you choose to do it in color that is fine too, please remember the lessons you have learned over the past two weeks of your Hue studies.

Find a soft piece of cloth, a fabric that can hold a bit of shape but not be too stiff. Something like a linen tea-towel or silk or wool scarf can be good. Gently toss it onto your table top, or tie it in a knot (see link below), fiddle with it a bit if you wish. You might want to have a good light source shining across from one direction. Now observe the various peaks and valleys made by the folds. Pay attention to the dark areas and the highlights. Try and remember to draw the shapes you see, not what you think they should be - think of the six basic drapery lines: 

There are six basic shapes and lines that make up most drapery, which are the J shape, the S shape, the curved line, the V shapes, U shape and Pipe fold.

• Sharp folds or creases are drawn with the V shape. You will find this shape in areas where there is a lot of tension in the fabric, such as jeans pulling across the hip joint or where the fabric is crunched.
• Soft, shallow folds are drawn with the U shape.
• S shapes and curved lines are used to denote draping or deep folds, usually indicating curves of the figure underneath.
• J shapes are used to convey the look of cloth when it gently folds onto itself or folds around the body wearing it.
• Pipe fold – think of organ pipes in a row and you have the general idea

Remember to consider whenever you are drawing any type of fabric the direction that the fabric is going to be pulled in. Folds are caused wherever the fabric is being stretched or pulled or folded; figure out how exactly you want the fabric to move and arrange it on your workspace. Folds are accented and highlighted by light and shadow.

Observe the example below and see how the I have used the above basic shapes along with light and shade to create draped fabric.

'After the Opening' ©Linda Weil

Consider studying some of the masters of fabrics, like Albrecht Dűrer: 

Fabric Study by Albrecht Dűrer

You can also watch a few videos for more hints and tips. This one is good HERE.

Have fun! I look forward to seeing your work.

Covid #6: Weekend works

 Good to see some of you sitting down over the weekend and taking up this challenge. Thank you for sending in the works, I really do enjoy seeing what you create for it.

First up is KB who struggled to find a yellow subject, but then just looked down to her feet at her favorite old house socks. As she says, they are 'a million years old and quite patchy and almost bald in places', but full of character. Created with Faber Castell Polychromo pencils on cartridge paper, her feet are well drawn and look comfortably cozy. Good use of sepia and blue grey to create tone without becoming overpowering and retaining a high key tonal range. Hints of darker yellow-orange to lift the yellow and emphasis form.

'Favorite socks' by KB

KB thought that she should also approach a more serious subject (why? socks are serious!) and did a second work to explore use of yellow. Another good drawing showing how to achieve different tonal ranges in the yellow hues, in this case using a more liner approach to create the yellow fill. Good work KB, but remember, as I am always banging on about, consider using blues or violets over yellow to create your greens before reaching for that 'Leaf Green' pencil.

'Flower study' by KB

Next up is KMcD who has expanded a banana drawing to include a lemon and grapefruit creating this happy, smiling still life. She has used the Derwent watercolor pencils in a range of yellows; zinc, lemon cadmium, gold primrose and cadmium. Shadows are created with raw sienna and light oranges. KMcD noted that the work was initially difficult as yellow is hard to see on white paper until you start to layer, but as you build up it really starts to pop.

And this drawing does pop! Done well and the composition smiles at you.

'Yellow Still Life' by KMcD

HFC has had a bit of a break from drawing recently, but my not-so-gentle coercion has brought her back to the drawing board. And so good to see! She says she is not totally happy with the result, but I see a well observed drawing of shape and form. The central striations and line work in the petals create a good effect. I think the background grey shading is a little bit rushed, but overall a nice drawing of a cheerful, yellow viola. Good to see you back!

'Yellow Viola' by HFC

Now, EM, you are not supposed to do the same drawing as me, and do it better! lol. Excellent work on this lemon. I especially like how you have taken it a step further by cutting one open to see the interesting interior structure. A beautiful little work.

EM has used: Paper A5 Eraldo di Paolo 225gsm wc paper. Faber Castel colors: 

Lemons: Ivory (under all of the lemons) plus White, Cream, Light Yellow Glaze, Light Chrome Yellow, Dark Cadmium Yellow,  Dark Chrome Yellow, Cadmium Orange, Light Yellow Ochre, Brown Ochre, Bistre, Dark Sepia and Dark Indigo. 

Shadows: Dark Indigo plus Bistre.

'Lemons' by EM

And finally, SW has rejoined the party! She is doing a bit of catching up on the challenges and has sent me her 'Red' challenge that I think is well worth a look. It's an apt response to our Covid malaise. Done with color pencils EM has closely observed the fabric folds and highlights. Yellow is included in her range of hues to accentuate the red. Perhaps a bit more intensity of color and tonal contrast could be worked up into the drawing. It is a good drawing that explores folds and valleys in fabric.

 

'Red Mask' by SW

Artist of the Week: MARK SEABROOK

Check out Mark's delightful 'Soyfish' series... and his Hunters! Mixing period photos and movie stills with everyday objects and toys, they are delightfully irreverent.

Covid #6: Yellow Challenge

Yellow! What's not to like? And SB has shown she has no fear by jumping right into the challenge with the first work submitted, a very creditable and delicious looking banana. She has used Derwent Studio Pencils, which are a good quality pencil with a wax feel. Studios have a thinner barrel than the Derwent Artist pencils but are essentially the same interior core. This is a good review on them HERE if you are looking for pencils to buy - these are a good economical option although the thinner barrel and core means large areas of color can be time consuming to lay down.

But as you can see from this smaller work by SB, the pencils work very well and have a great intensity of color. I really like the shape SB has drawn, as well the use of blending lighter yellow/green on the tips of the 'nanna works well and helps to create a solid form. Her choice of using browns and greys for the darker ends is well considered. The only comment I would make is that perhaps the cast shadow could have softer edges? But that is pretty nit-picky of me, this is an excellent drawing SB! And I love the title.

'Breakfast' by SB

Note: If you are in the market for color pencils, bestcolorpencils.com is a wonderful site to visit to help you to make a choice

Our second submission is another banana! This drawing comes from JH and she has used Carbethello Pastel pencils for this work. She has built up from: Ivory, Neutral yellow, Naples Yellow, Orange Yellow, Light Ochre, Burnt Ochre, Lamp Black and Cold Grey #4. Interestingly JH has also used a Prismacolor colorless blender to blend the hues together. I have never tried this with pastel pencils but it seems to have worked quite well in this drawing. I think you would need to be careful using it on something like a suede or velour pastel paper, but for a 'harder' paper it appears to be successful.

This too is a lovely study of a 'nanna. My only comment is that I would not have used so much Lamp Black - if any at all, as it is quite strong. It is rather overpowering in the cast shadow.  I would have tried Ultramarine 405 followed by Paynes Grey 770 first, then maybe touches of the Lamp Black. But this is a personal preference and does not fundamentally detract from this study. 

A good work JH, you should be very happy with this!

'Banana Yellow' by JH

A return to Refraction:

DH has been otherwise occupied over the past few weeks, but has finally had the opportunity to complete the 'Refraction' study of a couple of weeks back. It is such an interesting and good work I thought it was worth showing.

Some of DH's ovals are not quite right - pointy on top right, a bit off on the bottom right of the water level - but overall they are well observed and not too wrong. This is a complex drawing with many things happening, refractions through the water and the top rim, reflections in the glass, distortions of the tones through the water of the background, printing (on a curve!) on the flask. As well as an interesting and deceptively simple flask shape that is actually quite difficult to draw. 

I great drawing with good observation. Well done DH.

'Flask Refraction' by DH

And finally, I just want to bring to your attention that
  FALCONS ARE NESTING!

Great Lock Down viewing of our Melbourne Peregrines atop the Mirvac building. She has a couple/three eggs and you can watch live-stream HERE 

Beautiful birds.